Since Muybridge’s chronophotographic experiments, the relationship 
between cinema and time has been well documented. Less obvious, perhaps, 
is the relationship of cinema with space. Following the so-called 
digital mutation of recording and viewing technologies, this issue has 
nonetheless made its way to the forefront of cinema and media studies. 
It is not only that moviegoing is being decentered by the rise of 
portable viewing platforms — as cinema happens more and more outside of 
traditional theatres —, but also that the usual medium of inscription of 
film — the celluloid base — has been radically opened by new media.

This recent dislocation of film represents a unique opportunity to 
examine the relationship between space, philosophy and film. What does 
it mean for film-philosophy to happen — to take place — as a theoretical 
event in the gaps opened by this disruption? In what ways can thinking 
be informed by this spatial turn going on in film and media studies? 
What kinds of possibilities arise when the spatiality of the medium is 
considered from a cinematic perspective? All these questions require 
that we carry over Foucault’s intuition into film-philosophy: “[t]he 
present epoch will perhaps be above all the epoch of space.”

We specifically seek papers that engage space and cinema beyond both the 
static and the merely representational. The focus should instead be on 
the dynamic way in which the visual tracing of movement allows for both 
the creation of space and the opening of new paths for thought. Topics 
and issues to cover may include (but are not limited to):

-           immersive experience involving sight, sound and other senses;

-           aesthetic and critical approaches to developments in virtual 
reality and “total cinema”;

-           mediations allowed by the cinematic experience;

-           cinematic and mediatized tracing and mapping of space 
(gesture, projection, etc.);

-           the architecture of movement;

-           dislocation of the filmgoing experience (cinematic 
experience decentered: GIF, iPhone);

-           cinematic space less as object of representation, but as 
process of thought-making;

-           cinematic questioning of traditional space (i.e. 
space-folding in Inception, deconstruction of classical spatial

             grammar in post-WWII European cinema)

-           topological approaches to thinking the axes of space and 
time in the creation of cinematic worlds;

-           innovative cinematic treatment of specific typologies of 
space: interstellar space (Gravity), place, location, zone (Stalker), 
area, ambiance, environment and ecology (first space

             footage of Earth), globalization;

-           phenomenological and affective inquiries into living spaces, 
lifeworlds, etc.;

-           posthuman, object-oriented, and speculative realist 
inquiries into non-, post-, and para-human space (hyperobjects,  
anthropocene, chthulucene, capitalocene, etc.);

-           space and (in)visibilities in cinema and media (sites of 
appearance and disappearance, scenes of light and darkness, staging, 
audition, etc.);

-           biopolitical engagements with space and place (i.e. the 
camp, logics of capture, everyday life)

-           fragmentation of space (Shaviro’s post-continuity);

-           critiques of settler colonial space; decolonial spatial 

-          the poltical economy of space (gentrification and images, 
territorialization and deterritorialization, etc.)

-          financialized space (eg.. virtual space of the stock market)

We welcome papers that engage with the work of specific philosophers and 
theorists who think about space and philosophy from a variety of 
perspectives and further relate them to questions of cinema and media 
studies. We also welcome filmmakers, media practitioners, and activists 
to present and discuss their work.

The confirmed Keynote Speaker is Andrew Culp, Professor in the Faculty 
of Aesthetics and Politics at California Institute of the Arts. He is 
the author of Dark Deleuze (University of Minnesota Press, 2016), and 
has published articles and interviews in boundary 2, Quarterly Journal 
of Speech, Communication and Critical/Cultural Studies, parallax, 
Angelaki, Affinities, and Radical Philosophy. He is currently working on 
a book project entitled Persona Obscura.

The conference will be held in Toronto, Canada May 11-12, 2018.

Please send a 300-350-word abstract, brief bibliography, and bio (with 
institutional affiliation, if applicable) in one document as an email 
attachment to [log in to unmask] 
<mailto:[log in to unmask]> by Friday, March 2, 2018. 
Notifications about acceptance or rejection of proposal will be sent 

Conference Registration Fee:

Conference Attendance: $100 (Canadian)

Graduate Students and Underemployed: $50 (Canadian) <> 

Organized by the Spiral Film and Philosophy Collective in collaboration 
with the department of Cinema and Media Studies, York University.

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