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  1.  28
    The Comedy of Philosophy: Bataille, Hegel and Derrida.Lisa Trahair - 2001 - Angelaki 6 (3):155 – 169.
  2.  21
    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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  3.  33
    Belief in Cinema: Revisiting Themes From Bazin.Lisa Trahair - 2012 - Angelaki 17 (4):193 - 207.
    This paper takes issue with the idea recently promulgated by film-philosophers that the relationship between philosophy and film is untroubled by the encounter between reason and art. To do this I consider how in Je vous salue, Marie Jean-Luc Godard uses allegory, cinematic automatism and montage not to provide rational arguments but to raise questions about the legacy of the Christian aesthetics for contemporary cinema.
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  4.  10
    Belief in This World: The Dardenne Brothers' The Son and Søren Kierkegaard's Fear and Trembling.Lisa Trahair - 2016 - Substance 45 (3):98-119.
    This paper takes Luc and Jean-Pierre Dardenne’s film Le Fils and its critical reception as an occasion to explore Gilles Deleuze’s proposition that cinema’s capacity to show belief in this world—as a secular corollary to Søren Kierkegaard’s religious belief as a leap of faith—is one avenue by which the medium might rediscover its pertinence after the demise of the movement-image. Previous interpretations of The Son have taken up the film’s connection with the story of Abraham’s sacrifice of Isaac to argue (...)
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  5.  34
    Being on the Outside: Cinematic Automatism in Stanley Cavell’s The World Viewed.Lisa Trahair - 2014 - Film-Philosophy 18 (1):128-146.
    Stanley Cavell's The World Viewed was the first book on cinema to attempt to provide an ontological theorisation of film that could account not only for its popular instances and the reason why they enthralled audiences for over half a century but also for the demise of its mythic function and the possibility of its redemption in serious modernist film. Inadequately understood at the time of its publication, and for too long ignored by Film Studies, Cavell's arguments about modernist cinema (...)
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  6.  13
    Peter Osborne. Anywhere or Not at All: Philosophy of Contemporary Art. London and New York: Verso, 2013. 288 Pp. [REVIEW]Lisa Trahair - 2016 - Critical Inquiry 42 (2):415-416.
  7.  24
    Senses of Visuality: Sardines, Surveillance and Cinema.Lisa Trahair - 2003 - Theory and Event 7 (1).
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