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Robert Sinnerbrink [65]Robert Sixto Sinnerbrink [5]Robert S. Sinnerbrink [1]
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Robert Sinnerbrink
Macquarie University
  1. Cinematic Ethics: Exploring Ethical Experience Through Film.Robert Sinnerbrink - 2015 - 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.  31
    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 (...)
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  3.  45
    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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  4.  13
    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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  5.  22
    Nomadology or Ideology? Žižek's Critique of Deleuze.Robert Sinnerbrink - 2006 - Parrhesia 1:62-87.
  6.  16
    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.
  7.  28
    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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  8.  64
    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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  9.  28
    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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  10.  8
    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.
  11.  17
    Re-Enfranchising Film: Towards a Romantic Film-Philosophy.”.Robert Sinnerbrink - 2011 - In Havi Carel & Greg Tuck (eds.), New Takes in Film-Philosophy. Palgrave-Macmillan. pp. 25--47.
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  12.  40
    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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  13.  17
    Understanding Hegelianism.Robert Sinnerbrink - 2007 - Routledge.
    "Understanding Hegelianism" explores the ways in which Hegelian and anti-Hegelian currents of thought have shaped some of the most significant movements in twentieth-century European philosophy, particularly the traditions of critical theory, existentialism, Marxism and poststructuralism. The first part of the book examines Kierkegaard's existentialism and Marx's materialism, which present two defining poles of subsequent Hegelian and anti-Hegelian movements. The second part looks at the contrasting critiques of Hegel by Lukacs and Heidegger, which set the stage for the appropriation of Hegelian (...)
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  14.  16
    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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  15.  32
    Critique Hope, Power: Challenges of Contemporary Critical Theory.Robert Sinnerbrink, Jean-Philippe Deranty & Nicholas Smith - 2005 - Critical Horizons 6 (1):1-21.
  16.  2
    Null.Robert Sinnerbrink - 2008 - Australasian Journal of Philosophy 86 (4):696-697.
  17.  29
    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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  18.  6
    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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  19. Time, Affect, and the Brain: Deleuze's Cinematic Aesthetics.Robert Sinnerbrink - 2008 - Film-Philosophy 12 (1):85-96.
  20. The Idea of Continental Philosophy: A Philosophical Chronicle.Robert Sinnerbrink - 2008 - Australasian Journal of Philosophy 86 (4):696-697.
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  21.  43
    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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  22.  8
    Endings. Questions of Memory in Hegel and Heidegger, Eds. Rebecca Comay and John McCumber , Pp. Vii + 245. ISBN 0810115077. £24.50. [REVIEW]Robert Sinnerbrink - 2003 - Hegel Bulletin 24 (1-2):96-100.
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  23.  41
    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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  24.  25
    Love Everything.Robert Sinnerbrink - 2016 - Symposium: Canadian Journal of Continental Philosophy/Revue canadienne de philosophie continentale 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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  25. Heidegger and the 'End of Art'.Robert Sinnerbrink - 2004 - Literature & Aesthetics 14 (1):89-109.
     
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  26.  23
    Nikolas Kompridis , Philosophical Romanticism.Robert Sinnerbrink - 2008 - Critical Horizons 9 (1):112-120.
  27.  19
    Photobiographies : The 'Derrida' Documentaries as Film-Philosophy.Robert Sinnerbrink - unknown
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  28.  3
    Art and Time by Allan, Derek: Newcastle Upon Tyne: Cambridge Scholars Publishing, 2013, Pp. Xvi +181, ₤40. [REVIEW]Robert Sinnerbrink - 2014 - Australasian Journal of Philosophy 92 (2):385-387.
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  29.  4
    Pleasure, Art, Culture: Remarks on Mohan Matthen's ‘The Pleasure of Art’.Robert Sinnerbrink - 2017 - Australasian Philosophical Review 1 (1):50-60.
    ABSTRACTIn response to Mohan Matthen's ‘The Pleasure of Art’, I identify three issues that deserve further critical engagement: the scope of his definition of aesthetic pleasure, the role of culture in shoring up its communal and communicable character, and the need to include an account of aesthetic properties in his psychologically grounded approach to aesthetic pleasure. Without due acknowledgment of both aesthetic properties and the intersubjective role of culture, Matthen's activity-based theory of aesthetic pleasure risks lapsing into subjectivism, thereby losing (...)
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  30.  16
    Politics, Theory, and Film: Critical Encounters with Lars von Trier.Robert Sinnerbrink - 2018 - Contemporary Political Theory 17 (S1):1-5.
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  31.  33
    Irving Singer (2008) Cinematic Mythmaking: Philosophy in Film.Robert Sixto Sinnerbrink - 2010 - Film-Philosophy 14 (1):377-386.
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  32.  69
    Recognitive Freedom: Hegel and the Problem of Recognition.Robert Sinnerbrink - 2004 - Critical Horizons 5 (1):271-295.
    This paper examines the theme of recognition in Hegel's account of self-consciousness, suggesting that there are unresolved difficulties with the relationship between the normative sense of mutual recognition and phenomenological cases of unequal recognition. Recent readings of Hegel deal with this problem by positing an implicit distinction between an 'ontological' sense of recognition as a precondition for autonomous subjectivity, and a 'normative' sense of recognition as embodied in rational social and political institutions. Drawing on recent work by Robert Pippin and (...)
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  33.  15
    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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  34.  22
    Power, Recognition, and Care : Honneth's Critique of Poststructuralist Social Philosophy.Robert Sinnerbrink - unknown
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  35. Neo-Anarchism or Neo-Liberalism? Neo-Anarchism or Neo-Liberalism? Critchley's Infinitely Demanding.Robert Sinnerbrink - 2009 - Critical Horizons 10 (2):163-179.
     
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  36.  18
    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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  37.  14
    Nikolas Kompridis, Critique and Disclosure: Critical Theory Between Past and Future.Robert Sinnerbrink - 2007 - Critical Horizons 8 (2):266-271.
  38.  19
    Silencio : Mulholland Drive as Cinematic Romanticism.Robert Sinnerbrink - unknown
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  39.  12
    Neo-Anarchism or Neo-Liberalism? Yes, Please! A Response to Simon Critchley's Infinitely Demanding.Robert Sinnerbrink - 2009 - Critical Horizons 10 (2):163-179.
    Simon Critchley's Infinitely Demanding makes a timely contribution to contemporary debates in ethics and political philosophy. For all its originality, however, one can raise critical questions concerning Critchley's account of the forms of resistance possible within liberal democratic polities. In this article I question the adequacy of Critchley's ethically based neo-anarchism as a response to neo-liberalism, critically analysing the role of ideology in his account of the motivational deficit afflicting capitalist liberal democracies.
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  40.  22
    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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  41.  15
    Song of the Earth : Cinematic Romanticism in Malick's The New World.Robert Sinnerbrink - unknown
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  42.  17
    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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  43.  11
    Violence, Deconstruction, and Sovereignty : Derrida and Agamben on Benjamin's 'Critique of Violence'.Robert Sinnerbrink - unknown
    How can Benjamin's theses help us to understand the secret architectures of the present? This volume takes up the architectural challenge in a number of innovative ways, collecting essays by both well-known and emerging scholars on time in cinema, the problem of kitsch, the design of graves and tombs, the orders of road-signs, childhood experience in modern cities, and much more. Engaged, interdisciplinary, bristling with insights, the essays in this collection will constitute an indispensable supplement to the work of Walter (...)
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  44.  11
    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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  45.  14
    Ethics of Commitment, Politics of Resistance: Simon Critchley's Infinitely Demanding.Robert Sinnerbrink & Philip Quadrio - 2009 - Critical Horizons 10 (2):153.
  46.  2
    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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  47.  7
    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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  48.  3
    Introduction.Robert Sinnerbrink - 2017 - Film-Philosophy 21 (3):259-264.
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  49.  7
    Hugo Münsterberg.Robert Sinnerbrink - unknown
    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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  50.  7
    Questioning Style.Robert Sinnerbrink - 2011 - In Alex Clayton & Andrew Klevan (eds.), The Language and Style of Film Criticism. London: Routledge.
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1 — 50 / 69