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Robert Sinnerbrink [81]Robert Sixto Sinnerbrink [5]Robert S. Sinnerbrink [1]
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Robert Sinnerbrink
Macquarie University
  1.  13
    Cinematic Ethics: Exploring Ethical Experience Through Film.Robert Sinnerbrink - 2015 - New York: Routledge.
    How do movies evoke and express ethical ideas? What role does our emotional involvement play in this process? What makes the aesthetic power of cinema ethically significant? Cinematic Ethics: _Exploring Ethical Experience through Film_ addresses these questions by examining the idea of cinema as a medium of ethical experience with the power to provoke emotional understanding and philosophical thinking. In a clear and engaging style, Robert Sinnerbrink examines the key philosophical approaches to ethics in contemporary film theory and philosophy using (...)
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  2.  63
    New Philosophies of Film: Thinking Images.Robert Sinnerbrink - 2011 - Continuum.
    Introduction: why did philosophy go to the movies? -- The analytic-cognitivist turn. The empire strikes back: critiques of "grand theory" -- The rules of the game: new ontologies of film -- Adaptation: philosophical approaches to narrative -- From cognitivism to film-philosophy. A.I.: cognitivism goes to the movies -- Bande à part: Deleuze and Cavell as film-philosophers -- Scenes from a marriage: film as philosophy -- Cinematic thinking. Hollywood in trouble: David Lynch's Inland empire -- "Chaos reigns": anti-cognitivism in Lars von (...)
  3.  79
    Stimmung : exploring the aesthetics of mood.Robert Sinnerbrink - unknown
    Few cinephiles would deny the importance of mood in film, yet the aesthetics of mood are curiously overlooked today. On the one hand, mood is an essential dimension of cinema: we define certain genres, for example, by suggesting the moods they evoke. On the other hand, words frequently fail us when we try to articulate such moods in a more abstract or analytical vein. I offer in this essay some critical reflections on the significance of mood, suggesting that mood works (...)
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  4.  68
    Cavellian Meditations: How to do Things with Film and Philosophy.Robert Sinnerbrink - 2014 - Film-Philosophy 18 (1):50-69.
    Stanley Cavell's writing on film has been an important inspiration for the recent 'philosophical turn' in film theory. But few studies have explored the significance of Cavell's style of writing, how it communicates his distinctive manner of thinking with film. This article explores Cavell's style as a way of doing philosophy, and suggests that his attempt to capture the aesthetic experience of film in evocative prose makes an important contribution to developing new ways of thinking in film-philosophy.
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  5.  84
    A Heideggerian Cinema? On Terrence Malick's The Thin Red Line.Robert Sinnerbrink - 2006 - Film-Philosophy 10 (3):26-37.
    In his 1979 foreword to The World Viewed, Stanley Cavell remarks on the curiousrelationship between Heidegger and cinema . Cavell is inspired to do so byTerrence Malick's Days of Heaven , a film that not only presents us with images ofpreternatural beauty, but also acknowledges the self-referential character of thecinematic image . For Cavell, Malick's films have a formal radiance thatsuggest something of Heidegger's thinking of the relationship between Being and beings,the radiant self-showing of things in luminous appearance . Days (...)
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  6.  15
    Introduction: Heidegger and the Phenomenology of Film.Robert Sinnerbrink - 2024 - Film-Philosophy 28 (1):1-10.
  7.  15
    Imagining Cinema: ‘Cinempathy’ and the Embodied Imagination.Robert Sinnerbrink - 2020 - Paragraph 43 (3):281-297.
    Imagination has been the focus of much philosophical inquiry in recent decades. Although it plays an essential role in linking emotional engagement with ethical experience, imagination has received comparatively little attention in film-philosophy. In this article, I argue that imagination plays an essential role in linking emotional engagement with moral-ethical experience. Drawing on phenomenological, cognitive and aesthetic perspectives, I focus on perceptual imagining and suggest that an account of embodied cinematic imagination — encompassing both perceptual/sensory and propositional/cognitive imagining — is (...)
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  8.  24
    A Post-Humanist Moralist: michael haneke's cinematic critique.Robert Sinnerbrink - 2011 - Angelaki 16 (4):115-129.
    The films of Michael Haneke, so some critics argue, exploit the nihilism of a media-saturated culture, indulging in a dubious manipulation of audience expectations and our fascination with violence. Such criticisms, however, misunderstand or distort the complex moral, political, and aesthetic purpose of Haneke’s work. Indeed, his films are better understood as examining the socially disorienting and subjectively disintegrating effects of our post-humanist world of mass-mediatised experience. At the same time, they are highly reflexive cinematic works that force us to (...)
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  9.  37
    Nomadology or Ideology? Žižek's Critique of Deleuze.Robert Sinnerbrink - 2006 - Parrhesia 1:62-87.
  10.  68
    Cinematic Ideas, on David Lynch's Mulholland Drive.Robert Sinnerbrink - 2005 - Film-Philosophy 9 (4).
    he enigmatic films of David Lynch have been interpreted from a variety of perspectives. Among these we can find Lynch the postmodernist ironist, Lynch the transgressive neoconservative, and Lynch the visionary explorer of the unconscious. Martha P. Nochimson's recent study, for example, presents an eloquent case for regarding Lynch as a Jungian 'surfer of the waves of the collective unconscious', whose films combine the intuitive embracing of subconscious Life Energy with a celebration of the creative power of Hollywood mythology. [1] (...)
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  11.  80
    From machenschaft to biopolitics: A genealogical critique of biopower.Robert Sinnerbrink - 2005 - Critical Horizons 6 (1):239-265.
    This paper develops a genealogical critique of the concepts of biopower and biopolitics in the work of Foucault and Agamben. It shows how Heidegger's reflections on Machenschaft or machination prefigure the concepts of biopower and biopolitics. It develops a critique of Foucault's account of biopolitics as a system of managing the biological life of populations culminating in neo-liberalism, and a critique of Agamben's presentation of biopolitics as the metaphysical foundation of Western political rationality. Foucault's ethical turn within biopolitical governmentality, along (...)
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  12.  39
    Culture industry redux : Stiegler and Derrida on technics and cultural politics.Robert Sinnerbrink - unknown
    This essay seeks to further the critical reception of Stiegler's philosophy of technology by situating his work within the legacy of critical theory and deconstruction. Drawing on what Richard Beardsworth has described as Stiegler's 'Left-Derrideanism'-his radical re-thinking of the problem of technics and related call for a "politics of memory"-I argue that Stiegler's transformation of both Heidegger and Derrida retrieves and renews the interrupted Frankfurt school tradition of culture industry critique. What we might call Stiegler's 'deconstructive materialism' reinvigorates the project (...)
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  13.  35
    Time, Affect, and the Brain: Deleuze's Cinematic Aesthetics: Darren Ambrose and Wahida Khandker (eds.) (2005) Diagrams of Sensation: Deleuze and Aesthetics: Pli, The Warwick Journal of Philosophy.Robert Sinnerbrink - 2008 - Film-Philosophy 12 (1):85-96.
  14.  21
    Sein und Geist: Heidegger's Confrontation with Hegel's Phenomenology.Robert Sixto Sinnerbrink - 2007 - Cosmos and History 3 (2-3):132-152.
    This paper pursues the lsquo;thinking dialoguersquo; between Hegel and Heidegger, a dialogue centred on Heideggerrsquo;s lsquo;confrontationrsquo; with Hegelrsquo;s Phenomenology of Spirit. To this end, I examine Heideggerrsquo;s critique of Hegel on the relationship between time and Spirit; Heideggerrsquo;s interpretation of the Phenomenology as exemplifying the Cartesian-Fichtean metaphysics of the subject; and Heideggerrsquo;s later reflections on Hegel as articulating the modern metaphysics of lsquo;subjectityrsquo;. I argue that Heideggerrsquo;s confrontation forgets those aspects of Hegelrsquo;s philosophy that make him our philosophical contemporary: Hegelrsquo;s (...)
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  15.  62
    Silencio : Mulholland Drive as cinematic romanticism.Robert Sinnerbrink - unknown
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  16.  57
    Cinematic Belief: bazinian cinephilia and malick's the tree of life.Robert Sinnerbrink - 2012 - Angelaki 17 (4):95 - 117.
    Given the so-called ?crisis? in film theory, the digital mutations of the medium, and the renewed interest in historicism, cinephilia, and film philosophy, André Bazin's thought appears ripe for retrieval and renewal. Indeed, his role in the renaissance of philosophical film theory, I argue, is less epistemological and ontological than moral and aesthetic. It is a quest to explore the revelatory possibilities of cinematic images; not only their power to reveal reality under a multiplicity of aspects but to satisfy our (...)
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  17. Cinema and Its Shadow: Mario Perniola (2004) Art and Its Shadow.Robert Sinnerbrink - 2006 - Film-Philosophy 10 (2):31-38.
    Book review of Mario Perniola, 'Art and Its Shadow', translated by Massimo Verdicchio with a foreword by Hugh J. Silverman, London and New York: Continuum Press, ISBN: 082626243X.
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  18.  13
    Recognition, Work, Politics: New Directions in French Critical Theory.Jean-Philippe Dr Deranty, Danielle Petherbridge, J. Rundell & Robert Sinnerbrink (eds.) - 2007 - Brill.
    Recognition, Work, Politics includes a range of essays in contemporary French critical theory around politics, recognition, and work, and their philosophical articulations. These issues are addressed from directions that include post-structuralism, the paradigm of the gift, recognition theory, and post-marxism.
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  19.  16
    György Markus: On the Path of Culture – Editorial Introduction.Robert Sinnerbrink, John Rundell, Danielle Petherbridge & Jean-Philippe Deranty - 2013 - Critical Horizons 14 (2):125-126.
  20.  67
    Anatomy of melancholia.Robert Sinnerbrink - 2014 - Angelaki 19 (4):111-126.
    :This article analyses some of the aesthetic and philosophical strands of Lars von Trier's Melancholia, focusing in particular on the film's remarkable Prelude, arguing that it performs a complex ethical critique of rationalist optimism in the guise of a neo-italictic allegory of world-destruction. At the same time, I suggest that Melancholia seeks to “work through” the loss of worlds – cinematic but also cultural and natural – that characterises our historical mood, one that might be described as a deflationary apocalypticism (...)
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  21.  10
    A philosophy of cultural modernity: Márkus’s contribution to the philosophy of culture.Robert Sinnerbrink - 2020 - Thesis Eleven 160 (1):73-83.
    As Professor of Philosophy at the University of Sydney for over 20 years, György Márkus exerted a profound influence on a generation of philosophers and students from many disciplinary backgrounds. His legendary lecture courses, spanning the history of modern philosophy from the Enlightenment through to the late 20th century, were memorable for their breadth, erudition, and philosophical drama. Always modest despite his mastery of the tradition, Márkus’s approach to this history of philosophy never failed to emphasize its continuing role in (...)
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  22.  8
    Critique and disclosure: Critical theory between past and future.Robert Sinnerbrink - 2007 - Critical Horizons 8 (2):266-271.
  23. Cinematic experience : from moving images to virtual reality.Robert Sinnerbrink - 2022 - In Kyle Stevens (ed.), The Oxford handbook of film theory. Oxford University Press.
     
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  24.  35
    Cognitivism goes to the movies : the Routledge companion to philosophy and film; Moving viewers: American film and the spectator's experience; Embodied visions: evolution, emotion, culture, and film.Robert Sinnerbrink - unknown
    A critical review essay dealing with three major publications in the field of philosophy of film published during 2009.
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  25.  37
    Critique hope, power: Challenges of contemporary critical theory.Robert Sinnerbrink, Jean-Philippe Deranty & Nicholas Smith - 2005 - Critical Horizons 6 (1):1-21.
    In the first part of the paper I consider the relative neglect of hope in the tradition of critical theory. I attribute this neglect to a low estimation of the cognitive, aesthetic, and moral value of hope, and to the strong—but, argue, contingent—association that holds between hope and religion. I then distinguish three strategies for thinking about the justification of social hope; one which appeals to a notion of unfulfilled or frustrated natural human capacities, another which invokes a providential order, (...)
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  26.  49
    Cinempathy: Phenomenology, Cognitivism, and Moving Images.Robert Sinnerbrink - forthcoming - Contemporary Aesthetics.
    Some of the most innovative philosophical engagement with cinema and ethics in recent years has come from phenomenological and cognitivist perspectives. This trend reflects a welcome re-engagement with cinema as a medium with the potential for ethical transformation, that is, with the idea of cinema as a medium of ethical experience. This paper explores the phenomenological turn in film theory, emphasizing the ethical implications of phenomenological approaches to affect and empathy, emotion, and evaluation. I argue that the oft-criticized subjectivism of (...)
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  27.  2
    Critique Today.Robert Sinnerbrink, Jean-Philippe Dr Deranty, Nicholas Smith & Peter Schmiedgen (eds.) - 2006 - Brill.
    This volume examines critical social philosophy today, furthering the dialogue between German critical theory and French post-structuralism, exploring the relationship between philosophy and social theory, and developing new approaches to theories of recognition, social hope, and modern power.
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  28.  50
    Critical Theory As Disclosing Critique: A Response to Kompridis.Robert Sinnerbrink - 2012 - Constellations 19 (3):369-381.
    What Kompridis admirably describes as the transformative power of disclosing critique should be incorporated into a renewed model of critical theory. At the same time, disclosing critique should be regarded as supplementing, rather than supplanting, those normative forms of analysis and reflection that remain rooted in experiences of social suffering, which are precisely what continue to give critical theory its normative ground and theoretical impetus. In this way, we could agree with Kompridis that practicing world-disclosing critique, and thereby retrieving the (...)
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  29.  20
    Cognitivist Turn in Film Theory.Robert Sinnerbrink - 2010 - In James Williams (ed.), Postanalytic and Metacontinental: Crossing Philosophical Divides. Continuum. pp. 173.
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  30.  5
    Disenfranchising film on the analytic-cognitivist turn in film theory.Robert Sinnerbrink - 2010 - In James Williams (ed.), Postanalytic and Metacontinental: Crossing Philosophical Divides. Continuum.
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  31.  5
    Division III of Heidegger’s ‘Being and Time’: The Unanswered Question of Being.Robert Sinnerbrink - 2018 - The European Legacy 24 (1):107-112.
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  32.  26
    Deconstructive justice and the "Critique of violence" : on Derrida and Benjamin.Robert Sinnerbrink - unknown
    This essay presents a critical interpretation of Derrida’s deconstructive reading of Walter Benjamin’s text, "Critique of Violence." It examines the relationship between deconstruction and justice, and the parallel Derrida draws between deconstructive reading and Benjamin’s account of pure violence. I argue that Derrida blurs Benjamin’s distinction between the political general strike and the proletarian general strike. As a consequence, Derrida criticises Benjamin’s metaphysical complicity with the violence that lead to the Holocaust. Derrida’s deconstructive reading of Benjamin, I conclude, underplays its (...)
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  33.  5
    Emotions, ethics, and cinematic experience: new phenomenological and cognitivist perspectives.Robert Sinnerbrink (ed.) - 2021 - New York: Berghahn Books.
    Since the early 1990s, phenomenology and cognitivism have become two of the most influential approaches to film theory. Yet far from being at odds with each other, both approaches offer important insights on our subjective experience of cinema. Emotions, Ethics, and Cinematic Experience explores how these two approaches might work together to create a philosophy of film that is both descriptively rich and theoretically productive by addressing the key relationship between cinematic experience, emotions, and ethics.
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  34.  23
    Ethics of Commitment, Politics of Resistance: Simon Critchley's Infinitely Demanding.Robert Sinnerbrink & Philip Quadrio - 2009 - Critical Horizons 10 (2):153-153.
  35. Ereignis, Technology, Art: Poetic Dwelling in the Later Heidegger.Robert Sinnerbrink - 2006 - Literature & Aesthetics 16 (1):81-94.
     
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  36. Film and Ethics.Robert Sinnerbrink - 2019 - In Christina Rawls, Diana Neiva & Steven S. Gouveia (eds.), Philosophy and Film: Bridging Divides. Routledge Press, Research on Aesthetics.
     
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  37.  16
    Filmosophy/Film as Philosophy.Robert Sinnerbrink - 2019 - In Noël Carroll, Laura T. Di Summa & Shawn Loht (eds.), The Palgrave Handbook of the Philosophy of Film and Motion Pictures. Springer. pp. 513-539.
    This chapter offers a critical discussion of the idea of filmosophy or film as philosophy. I explore the debate surrounding the idea of “film as philosophy”, distinguishing this approach from more traditional philosophy of film, and suggesting that it has a long history going back to key figures in early film theory. I then focus on the seminal work of Stanley Cavell and Gilles Deleuze, often described as the inaugurators of film-philosophy. Finally, I examine recent proposals concerning the idea of (...)
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  38.  4
    First page preview.Robert Sinnerbrink - 2008 - Australasian Journal of Philosophy 86 (4).
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  39.  28
    Goodbye Lenin?: Žižek on Neo-Liberal Ideology and Post-Marxist Politics.Robert Sinnerbrink - 2010 - International Journal of Žižek Studies 4 (2).
    A critical study of Zizek's recent ideology critique and political philosophy.
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  40. Heidegger and the 'End of Art'.Robert Sinnerbrink - 2004 - Literature & Aesthetics 14 (1):89-109.
     
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  41.  9
    Hugo Miinsterberg.Robert Sinnerbrink - 2009 - In Felicity Colman (ed.), Film, Theory and Philosophy: The Key Thinkers. Acumen Publishing. pp. 20-30.
    Film, Theory and Philosophy brings together leading scholars to provide a detailed overview of the key thinkers who have shaped the field of film philosophy. The thinkers include continental philosophers, post-continental philosophers, analytic philosophers, film-makers, film reviewers, sociologists, and cultural theorists. The essays reveal how philosophy can be applied to film analysis and how film can be used to illustrate philosophical problems. But more importantly, the essays explore how film has shaped what philosophy thinks and how philosophy has lead to (...)
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  42. Hugo Mensterberg, film, and philosophy.Robert Sinnerbrink - 2017 - In Bernd Herzogenrath (ed.), Film as philosophy. University of Minnesota Press.
     
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  43.  9
    Introduction.Robert Sinnerbrink - 2017 - Film-Philosophy 21 (3):259-264.
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  44.  29
    Introduction: Film and / as Ethics.Robert Sinnerbrink & Lisa Trahair - 2016 - Substance 45 (3):3-15.
    The relationship between film and philosophy, along with the idea of film as philosophy, has attracted widespread interest over the last decade. Film theorists and philosophers of film have explored not only the philosophical questions raised by cinema as an artform, but also the possibility that cinema might contribute to philosophical understanding or even engage in varieties of “cinematic thinking” that intersect with, without being reducible to, philosophical inquiry. Inspired by the work of Gilles Deleuze and Stanley Cavell, many theorists (...)
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  45.  1
    Introduction: On Stanley Cavell.Robert Sinnerbrink - 2014 - Film-Philosophy 18 (1):1-2.
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  46.  43
    Irving Singer (2008) Cinematic Mythmaking: Philosophy in Film.Robert Sixto Sinnerbrink - 2010 - Film-Philosophy 14 (1):377-386.
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  47.  37
    Love Everything.Robert Sinnerbrink - 2016 - Symposium 20 (1):91-105.
    One of the questions that Gilles Deleuze explores is the relationship between cinema and belief: can cinema restore the broken link between us and the world? Does modern cinema have the power to give us ‘reasons to believe in this world’? My case study for exploring the question of belief in cinema, or what I call a Bazinian cinephilia, is Terrence Malick’s The Tree of Life (2011); a film whose sublime aesthetics and unorthodox religiosity have provoked polarized critical responses, but (...)
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  48.  26
    Love Sick: Malick's Kierkegaardian ‘Weightless’ Trilogy.Robert Sinnerbrink - 2019 - Paragraph 42 (3):279-300.
    Malick's ‘weightless’ trilogy explores the limits of different conceptions of love, from the romantic and ethical to the spirit...
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  49.  1
    Michael Theunissen.Robert Sinnerbrink - 2018 - In Ludwig Siep, Heikki Ikäheimo & Michael Quante (eds.), Handbuch Anerkennung. Springer. pp. 199-202.
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  50.  7
    Null.Robert Sinnerbrink - 2008 - Australasian Journal of Philosophy 86 (4):696-697.
1 — 50 / 85