Christine Reeh-Peters
Christine Reeh-Peters is a German filmmaker, philosopher and artistic researcher living between Bochum and Lisbon. She holds a PhD in Philosophy of Art and Aesthetics from the Faculty of Letters, University of Lisbon. She is full professor for Film and Digital Arts at the Protestant University of Applied Sciences in Bochum. Until August 2023, Christine was junior professor for Artistic Research in Digital Media at Film University Babelsberg KONRAD WOLF in Potsdam. She was here also head of the IKF - Institute for Artistic Research.
Christine is since 2003 shareholder, film producer and director at the film production company C.R.I.M. in Lisbon of which she is co-founder: www.crim-productions.com. Her most well known films include "The Chronicles of Polyaris", "Waiting for Europe" and "Mother Fatima". She is director and award-winning author of over 10 films supported by film institutes in Portugal, Germany and Norway, and shown internationally at festivals (Doclisboa, Nouveau Cinema, Jihlava, Docupolis, IDFA etc.), cultural centres, museums and art galleries, as well as on various cultural television channels.
As a filmmaker and philosopher she explores the complexity of narration, place and image as well as the links between philosophy, film and artistic research in artistic praxis and philosophy. The current research project investigates "film as artificial intelligence" and has the ongoing artistic research project "Fabulation for Future" as one artistic output: www.fabulationforfuture.net.
She has published and edited articles, anthologies, special editions or one monograph for journals like Film-philosophy, Screenworks or Zeitschrift für Medienwissenschaft and publication houses like Brill or Cambridge Scholars.
She is reviewer for the Deutsche Forschungsgesellschaft Germany, JAR-Journal for Artistic Research, Reposition Journal of reflective Positions in Art & Research of the University of Applied Arts in Vienna or Baltic Screen Media Review. Christine is board member of the documentary festival dokka and the Kinemathek Karlsruhe, as well as member of SAR - Society for Artistic Research. She is supervising artistic-scientific PhD’s for the Film University Babelsberg KONRAD WOLF, the HfBK – University of the Arts Hamburg and the PEERS program of the ZHdK - Zurique University of the Arts.
Address: Filmuniversität Babelsberg Konrad Wolf
Institut für künstlerische Forschung
Marlene-Dietrich-Allee 11, 14482 Potsdam
Christine is since 2003 shareholder, film producer and director at the film production company C.R.I.M. in Lisbon of which she is co-founder: www.crim-productions.com. Her most well known films include "The Chronicles of Polyaris", "Waiting for Europe" and "Mother Fatima". She is director and award-winning author of over 10 films supported by film institutes in Portugal, Germany and Norway, and shown internationally at festivals (Doclisboa, Nouveau Cinema, Jihlava, Docupolis, IDFA etc.), cultural centres, museums and art galleries, as well as on various cultural television channels.
As a filmmaker and philosopher she explores the complexity of narration, place and image as well as the links between philosophy, film and artistic research in artistic praxis and philosophy. The current research project investigates "film as artificial intelligence" and has the ongoing artistic research project "Fabulation for Future" as one artistic output: www.fabulationforfuture.net.
She has published and edited articles, anthologies, special editions or one monograph for journals like Film-philosophy, Screenworks or Zeitschrift für Medienwissenschaft and publication houses like Brill or Cambridge Scholars.
She is reviewer for the Deutsche Forschungsgesellschaft Germany, JAR-Journal for Artistic Research, Reposition Journal of reflective Positions in Art & Research of the University of Applied Arts in Vienna or Baltic Screen Media Review. Christine is board member of the documentary festival dokka and the Kinemathek Karlsruhe, as well as member of SAR - Society for Artistic Research. She is supervising artistic-scientific PhD’s for the Film University Babelsberg KONRAD WOLF, the HfBK – University of the Arts Hamburg and the PEERS program of the ZHdK - Zurique University of the Arts.
Address: Filmuniversität Babelsberg Konrad Wolf
Institut für künstlerische Forschung
Marlene-Dietrich-Allee 11, 14482 Potsdam
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Papers by Christine Reeh-Peters
film and ethics. This perspective is important in today’s context, as the omnipresence of digital and
mobile audiovisual images in everyday life increasingly determines our thinking and behaviour.
However, there is a lack of appropriate critical reflection and ethical understanding of these images
and their ontology. This article proposes a machine ethics of film from a film-philosophical perspective.
Such an ethics draws on critical posthumanism, namely on Karen Barad’s “ethics of mattering”,
which explicitly relates to Emmanuel Levinas’ philosophy of the Other and their death. Thereby,
special attention is given to the ontological nexus of film and death, as well as to the idea of film’s
spectrality (drawing on, e.g., Derrida, Barthes, and Leutrat), a context that is discussed along with
Barad’s diffractive view on quantum entanglement. Following from the author’s earlier approaches
to Barad’s agential realism in the context of film-philosophy and certain Heidegger-based arguments
set out in earlier writings about film and death, this article introduces the figure of what is called the
“machinic spectre of film”. From here, the outline of a possible spectral ethics of film is considered by
giving reasons for the exploration of further questions.
Conference Presentations by Christine Reeh-Peters
Books by Christine Reeh-Peters
This book develops the so-called “solaristic ontology” of film by building a philosophical system based on an inquiry into the nature of film, being and reality. This “solaristic system” appropriates the aesthetic ideas and principles of thought present in the 1972 sci-fi movie Solaris by Andrei Tarkovsky. This movie is the main center of analysis here since it is highly symptomatic of the medium’s philosophical self-reflexivity and its intriguing correlation with reality and being. The “solaristic science” is a fictional science introduced in the movie’s diegesis and dedicated to the investigation of the planet Solaris, an unattainable challenge. In this sense, the solaristic system closes the film’s narrative by telling a philosophical story on the planet Solaris. The book thus details a philosophical form of concept art, and, at the same time, builds on previous results of film philosophy, as well as the speculative turn in contemporary philosophy.
ISBN: 1-5275-6408-8
film and ethics. This perspective is important in today’s context, as the omnipresence of digital and
mobile audiovisual images in everyday life increasingly determines our thinking and behaviour.
However, there is a lack of appropriate critical reflection and ethical understanding of these images
and their ontology. This article proposes a machine ethics of film from a film-philosophical perspective.
Such an ethics draws on critical posthumanism, namely on Karen Barad’s “ethics of mattering”,
which explicitly relates to Emmanuel Levinas’ philosophy of the Other and their death. Thereby,
special attention is given to the ontological nexus of film and death, as well as to the idea of film’s
spectrality (drawing on, e.g., Derrida, Barthes, and Leutrat), a context that is discussed along with
Barad’s diffractive view on quantum entanglement. Following from the author’s earlier approaches
to Barad’s agential realism in the context of film-philosophy and certain Heidegger-based arguments
set out in earlier writings about film and death, this article introduces the figure of what is called the
“machinic spectre of film”. From here, the outline of a possible spectral ethics of film is considered by
giving reasons for the exploration of further questions.
This book develops the so-called “solaristic ontology” of film by building a philosophical system based on an inquiry into the nature of film, being and reality. This “solaristic system” appropriates the aesthetic ideas and principles of thought present in the 1972 sci-fi movie Solaris by Andrei Tarkovsky. This movie is the main center of analysis here since it is highly symptomatic of the medium’s philosophical self-reflexivity and its intriguing correlation with reality and being. The “solaristic science” is a fictional science introduced in the movie’s diegesis and dedicated to the investigation of the planet Solaris, an unattainable challenge. In this sense, the solaristic system closes the film’s narrative by telling a philosophical story on the planet Solaris. The book thus details a philosophical form of concept art, and, at the same time, builds on previous results of film philosophy, as well as the speculative turn in contemporary philosophy.
ISBN: 1-5275-6408-8