Dr Silke Panse explores documentary moving images in relation to nature, art, television and continental philosophy (Deleuze, Guattari, Kant, Benjamin, Marx, Negri, the Schlegels).
Silke's research focuses on eco-aesthetics, immanence, realisms, materialisms, material and immaterial labour, subjects, objects, things, protagonists, affect, experience, the relationship between the mental and the physical, sculptural readings of film and television and other intersections between film, video, television and art.
She co-edited 'A Critique of Judgment in Film and Television' (Palgrave Macmillan 2014) and co-authored the introduction 'Judgment between Ethics and Aesthetics: An Introduction.' Her chapter 'The Judging Spectator in the Image' plays with the changed position of the spectator and judge from Kant to the X-Factor in what is research into television and philosophy.
Silke is co-investigator of the 'Screening Nature Network' (Arts and Humanities Research Council 2013-2014) and has co-organised the symposia 'Screening Nature: Flora, Fauna and the Moving Image' (2013) and 'Screening Nature: Life, Catastrophes and Eco-sophy' (2014) at Queen Mary University London and curated the 'Flora' screenings of short films on 'Leaves in the Wind' and 'Water' (Whitechapel Gallery 2014).
She wrote on eco-aesthetics and what she calls James Benning's 'land films' in 'Screening Nature: Cinema Beyond the Human' (Berghahn 2013), which also features her interview with Benning.
Silke is working on a monograph on 'Protagonists, Materials, Work, Art and Nature: An Eco-aesthetical Ontology of Documentary Moving Images.' Panse's essay about the documentary protagonist's material labour of aesthetics is forthcoming in 'The Blackwell Companion to Contemporary Documentary Cinema' (Blackwell Publishing 2015).
She discusses the rights of the documentary protagonist as a worker in 'Marx at the Movies' (Palgrave Macmillan 2014). Her article on documentary as painting and the filmmaker as a Rückenfigur in Alexander Sokurov's 'Elegy of a Voyage' was published in Third Text (2006) and her essay 'What Drawings Can Do That Films Can't' about Anna Lucas' 'blind drawings' in 'Blind Movies' (Ruskin School of Drawing 2009).
Silke has written on object subjectivity with respect to 'CSI: Crime Scene Investigation' in 'Reading CSI' (I.B. Tauris 2007) and on collective subjectivity in the GDR documentary series 'The Children of Golzow' in 'Rethinking Documentary' (Open University Press 2008).
She wrote her doctoral thesis mostly about Werner Herzog's documentaries and has organised the conference 'Werner Herzog's Cinema between the Visionary and the Documentary' in London in 2005.
She used to write the film column 'Silkescreen' for SPEX magazine in Germany and makes one-shot videos.
Silke is organising the Ethics, Art and Moving Images' Symposium with Connal Parsley in a collaboration between the University for the Creative Arts, the Centre for Critical Thought at Kent Law School (University of Kent) and the Whitstable Biennale.
- 2007: PhD in Film Studies from the University of Kent
- 1994: MFA First with Distinction in Visual Communication (Film), Hamburg University College of Fine Arts.
Academia: Silke Panse
Ten skies, 13 lakes, 15 pools - structure, immanence and eco-aesthetics in The Swimmer and James Banning's land films
Screening nature: Tate Modern
Screening nature: Goethe Institute
Screening nature: Facebook
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