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  1. Kate Ince (2013). Feminist Phenomenology and the Film World of Agnès Varda. Hypatia 28 (3):602-617.
    Through a discussion of Agnès Varda's career from 1954 to 2008 that focuses particularly on La Pointe Courte (1954), L'Opéra-Mouffe (1958), The Gleaners and I (2000), and The Beaches of Agnes (2008), this article considers the connections between Varda's filmmaking and her femaleness. It proposes that two aspects of Varda's cinema—her particularly perceptive portrayal of a set of geographical locations, and her visual and verbal emphasis on female embodiment—make a feminist existential-phenomenological approach to her films particularly fruitful. Drawing both directly (...)
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  2. Kate Ince (2012). Feminist Phenomenology and the Films of Sally Potter. In Jean-Pierre Boulé & Ursula Tidd (eds.), Existentialism and Contemporary Cinema: A Beauvoirian Perspective. Berghahn Books.
  3. Kate Ince (2011). Bringing Bodies Back In: For a Phenomenological and Psychoanalytic Film Criticism of Embodied Cultural Identity. Film-Philosophy 15 (1):1-12.
    This article reassesses the concept of identification in line with the increased importance phenomenology has taken on in film-philosophy of the 1990s and 2000s. In the 1970s and 1980s, a Lacanian psychoanalytic interpretation of identification dominated film theory and criticism, and spectatorial engagement with elements of films was understood as what psychoanalysis calls secondary identification – the identification with stable subject-positions (characters) in the film-text. But non-Lacanian psychoanalysis and Merleau-Ponty’s existential phenomenology offer film-philosophy a very different understanding of identification as (...)
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  4. Kate Ince (2007). Reply to Michael du Plessis. Film-Philosophy 11 (3).
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  5. Kate Ince (1996). Questions to Luce Irigaray. Hypatia 11 (2):122 - 140.
    This article traces the "dialogue" between the work of the philosophers Luce Irigaray and Emmanuel Levinas. It attempts to construct a more nuanced discussion than has been given to date of Irigaray's critique of Levinas, particularly as formulated in "Questions to Emmanuel Levinas" (Irigaray 1991). It suggests that the concepts of the feminine and of voluptuosity articulated by Levinas have more to contribute to Irigaray's project of an ethics of sexual difference than she herself sometimes appears to think.
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