Dr Mario Slugan
Lecturer in Film Studies
Email: email@example.comTelephone: +44 (0)20 7882 6850Room Number: Arts One G25B
My research stands on the intersection of film studies, philosophy and German studies. My book-length projects have been on the history, theory, and aesthetics of montage across literature, film, and visual arts – Montage as Perceptual Experience: Berlin Alexanderplatz from Döblin to Fassbinder (Camden House, 2017) – on the application of philosophical aesthetics to film theory – Noël Carroll on Film: A Philosophy of Art and Popular Culture (Bloomsbury, 2019) – and on the way fiction and non-fiction was understood prior to the emergence of labels such as “documentary” and disclaimers such as “all persons fictitious” – Fiction and Imagination in Early Cinema: A Philosophical Approach to Film History (Bloomsbury, 2019). My current project focuses on the status of fiction and its temporal instability in artistic and non-artistic domains alike. Within film studies, I investigate fiction’s relationship to other film genres construed traditionally as non-fiction including documentary and experimental cinema.
I have also co-edited a special issue of the open access journal Apparatus titled Fiction in Central and Eastern European Film Theory and Practice (with J. Alexander Bareis, 2019) – am currently co-editing a special issue of the journal Projections – Film Studies and Analytic Aesthetics in Dialogue (with Enrico Terrone, 2020, forthcoming) – and am developing a co-edited volume – New Perspectives on Early Cinema: Concepts, Approaches, Audiences (with Daniël Biltereyst).
I have co-organized three international conferences as well – Film Studies and Analytic Aesthetics (with Enrico Terrone, Oct 26-27, 2018, University of Warwick,), Rethinking the Attraction-Narrative Dialectics (with Daniël Biltereyst, Nov 9-10, 2018, Ghent University), and Documentaries and the Fiction/Nonfiction Divide (with Enrico Terrone, Nov 15-16, 2019, Queen Mary University of London).
I have come to Queen Mary following a Marie Skłodowska-Curie Actions Fellowship at Ghent University. I am also one of the editors of the open access journal Apparatus. Film, Media and Digital Cultures of Central and Eastern Europe.
I welcome PhD applicants interested in film philosophy (especially analytic philosophy), film theory (especially cognitivism), early cinema, montage, German cinema, and Yugoslav cinema.
FLM7208 - Amateur Cinema: Archives, Practices and Memory Construction
- film theory
- film philosophy
- film history
- early cinema
- avant-garde and modernist cinema and literature
- American cinema
- German cinema
- Eastern European cinema
- techniques of visual immersion (panorama, Hale’s Tours, VR, etc.)
Fiction and Imagination in Early Cinema: A Philosophical Approach to Film History. Bloomsbury, 2019.
Noël Carroll and Film: A Philosophy of Art and Popular Culture. Bloomsbury, 2019.
Montage as Perceptual Experience: Berlin Alexanderplatz from Döblin to Fassbinder. Camden House, 2017.
Co-edited with J. Alexander Bareis, Special Issue “Fiction in Central and Eastern European Film Theory and Practice”, Apparatus: Film, Media, & Digital Cultures in Central and Eastern Europe 8 2019 http://dx.doi.org/10.17892/app.2019.0008
Special Issue: Film Studies and Analytic Aesthetics in Dialogue. [co-editing with Enrico Terrone for Projections: Journal for Movies and Mind, 14(3) 2020, forthcoming]
Articles and Book Chapters
“R. W. Fassbinder’s Berlin Alexanderplatz as a Remake”, in Eduard Cuelenaere, Gertjan Willems, and Stijn Joye (eds), European Film Remakes, Edinburgh: Edinburgh University Press, 2020. [forthcoming]
“The Film Narrator and Early American Screenwriting Manuals”, Early Popular Visual Culture, 17(3), 2019 [print forthcoming] https://doi.org/10.1080/17460654.2019.1623058
“Theorizing Fiction in Film Non/Fiction: Some Thoughts on Recent German Film Theory”, Apparatus: Film, Media, & Digital Cultures in Central and Eastern Europe, 8, 2019 http://dx.doi.org/10.17892/app.2019.0008.161
Co-authored with J. Alexander Bareis, “Introducing Fiction in Central and Eastern European Film Theory and Practice”, Apparatus: Film, Media, & Digital Cultures in Central and Eastern Europe, 8, 2019 http://dx.doi.org/10.17892/app.2019.0008.169
“The Turn-of-the-Century Understanding of ‘Fakes’ in the US and Western Europe”, Participations: Journal of Audience & Reception Studies, 16(1), 2019: 718-737. http://www.participations.org/Volume%2016/Issue%201/35.pdf
“The Role of Imagination in Early Cinema: Fiction and Non-Fiction in Phantom Rides, Travelogues, and Hale’s Tours”, in Rüdiger Steinmetz (ed.) A Treasure Trove. Friend of the Photoplay – Visionary – Spy? New Trans-Disciplinary Approaches to Hugo Münsterberg’s Life and Ouevre, Leipzig: Leipzig University Press, 2018: 25-46.
“Taking Bazin Literally,” Projections: The Journal for Movies and Mind, 11(1), 2017: 63-82 http://dx.doi.org/10.3167/proj.2017.110105
“Late 1920s Film Theory and Criticism as a Test-Case for Benjamin’s Generalizations on the Experiential Effects of Editing,” Early Popular Visual Culture, 14(3), 2016: 215-233. http://dx.doi.org/10.1080/17460654.2016.1199322
“Deixis in Literary and Film Fiction: Intra-Ontological Reference and the Case of the Controlling Fictional Narrator,” in J. Alexander Bareis and Lene Nordrum (eds.) How to Make Believe: The Fictional Truths of Representational Arts, New York; Berlin: De Gruyter Press, 2015: 185-202.
“Some Thoughts on Controlling Fictional Narrators in Fiction Film,” American Society of Aesthetics Graduate E-Journal, 6(2), 2014: 1-7.
“The Rhetorics of Interpretation and Žižek’s Approach to Film,” Slavic Review, 72(4), 2013: 728-749. http://www.jstor.org/stable/10.5612/slavicreview.72.4.0728
Elicited a response from: Slavoj Žižek, “Reply,” Slavic Review, 72(4), 2013: 771-777.
“Epistemology as Ethics: Skepticism in Blade Runner,” Film and Philosophy, 16, 2012: 82-100. http://dx.doi.org/10.5840/filmphil2012167
“Responses to Balkanism in Emir Kusturica’s Život je čudo/Life Is a Miracle (2004),” Studies in Eastern European Cinema, 2(1), 2011: 37-48.
“An Asymmetry of Implicit Fictional Narrators in Literature and Film,” Postgraduate Journal of Aesthetics, 7(2), 2010: 26-37. http://pjaesthetics.org/index.php/pjaesthetics/article/view/70
Co-authored with Bojana Dalbelo-Bašić, “Connectionistic Model of Language Acquisition.” Proceedings to the European Modeling Symposium, 2006.