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  1.  19
    Visible Violence in Kiki Smith's Life Wants to Live.Lisa Coulthard - 2004 - Journal of Medical Humanities 25 (1):21-32.
    Recent theoretical analyses of domestic violence have posited the complicity of medical communities in erasing and obfuscating the cause of injuries. Although medical cultures have engaged in progressive initiatives to address and treat domestic violence, these medical and clinical models can render domestic violence invisible by framing the battered woman as evidentiary object. By analyzing this invisibility of domestic violence through the concept of public secrecy, in this article I consider Kiki Smith's 1982 installation piece Life Wants to Live. Using (...)
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  2.  5
    Divine Comedies: Post-Theology and Laughter in the Films of Bruno Dumont.Chelsea Birks & Lisa Coulthard - 2019 - Film-Philosophy 23 (3):247-263.
    The films of Bruno Dumont are tied to unwatchability, austerity, and a post-theological seriousness. Recently, however, Dumont has taken a surprising turn towards comedy; and yet these comedies are not without the post-theological despair that characterizes his earlier films. Taking Dumont's comedy seriously, this article frames Dumont's comedic turn not as a deviation but rather as a realignment that requires retroactive reconsideration of his oeuvre's post-theological orientation. We interrogate the philosophical implications of laughter in Dumont's work and argue that it (...)
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  3.  3
    Desublimating Desire: Courtly Love and Catherine Breillat.Lisa Coulthard - 2010 - Journal for Cultural Research 14 (1):57-69.
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  4.  71
    Haptic Aurality: Resonance, Listening and Michael Haneke.Lisa Coulthard - 2012 - Film-Philosophy 16 (1):16-29.
    Using Jean-Luc Nancy's productive concept of resonant listening, this article interrogates silence in the films of Michael Haneke. Arguing for a kind of open, resonating and sonorous form of philosophic listening, Nancy articulates the distinctions among listening, hearing and understanding. Working from these concepts, this article considers the particular form of resonance in the instance of cinematic silence and in particular the use of silence in the philosophically engaged cinema of Haneke.
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