1. Questions to Luce Irigaray.Kate Ince - 1996 - 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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    Bringing Bodies Back In: For a Phenomenological and Psychoanalytic Film Criticism of Embodied Cultural Identity.Kate Ince - 2011 - 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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    Ethics, Gender and Vulnerability in the Films of Mia Hansen-Løve.Kate Ince - 2020 - Film-Philosophy 24 (2):104-121.
    This article introduces some contemporary philosophical approaches to vulnerability including that of Judith Butler, while focusing on feminist legal theorist Martha Albertson Fineman's concept of the vulnerable subject, developed out of Fineman's earlier critiques of the autonomous, self-sufficient subject of liberal political philosophy. It then looks closely at the different forms of vulnerability exhibited by the leading protagonists of Mia Hansen-Løve's All Is Forgiven, Father of My Children, Goodbye First Love, Eden and Maya, all of whom except one are men, (...)
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    Ethics, Universality and Vulnerability in Abderrahmane Sissako's Bamako (2006) and Timbuktu.Kate Ince - 2018 - Paragraph 41 (2):167-183.
    This article adds philosopher Judith Butler to the list of thinkers whose work underpins the interest in ethics and/in film that began in earnest in the 2000s. Beginning with Precarious Life: Powers of Mourning and Violence, Butler has published several volumes that blend ethical thinking with moral theory and political philosophy, focusing on the concepts of precariousness and vulnerability. This article suggests that two films directed by Abderrahmane Sissako, Bamako and Timbuktu, as dramas of precariousness and vulnerability respectively, can inform (...)
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    Feminist Phenomenology and the Film World of Agnès Varda.Kate Ince - 2013 - 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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  6. Feminist Phenomenology and the Films of Sally Potter.Kate Ince - 2012 - In Jean-Pierre Boulé & Ursula Tidd (eds.), Existentialism and Contemporary Cinema: A Beauvoirian Perspective. Berghahn Books.
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    Reply to Michael du Plessis.Kate Ince - 2007 - Film-Philosophy 11 (3):103-107.
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