Dr. A.M. (Abe) Geil
Faculteit der Geesteswetenschappen
Dep. Mediastudies
Bezoekadres
- Turfdraagsterpad 9
Postadres
- Postbus 94550
1090 GN Amsterdam
Contactgegevens
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Publicaties
2023
- Geil, A. M. (2023). The Line of the Impossibility of Flight: Eisenstein, Disney, Malabou. ASAP/Journal. https://asapjournal.com/graphic-formalism-the-line-of-the-impossibility-of-flight-eisenstein-disney-malabou-abraham-geil/
2020
- Geil, A. (2020). ‘The Cruel Radiance of What Is’: Empathy, Imagination and Estrangement in Johan van der Keuken’s Face Value and Herman Slobbe. Paragraph, 43(3), 330-347. https://doi.org/10.3366/para.2020.0344 [details]
2019
- Geil, A. (2019). Plasmatic Mimesis: Notes on Eisenstein’s (inter)Faces. World Literature Studies , 11(4), 26-41. https://www.ceeol.com/search/journal-detail?id=455 [details]
2018
- Geil, A. (2018). Between gesture and physiognomy: ‘universal language’ and the metaphysics of film form in Béla Balázs’s Visible Man. Screen, 59(4), 512-522. https://doi.org/10.1093/screen/hjy054 [details]
- Geil, A. (2018). The Intervals of Habit. World Picture Journal, 13, 1-32. [details]
2017
- Geil, A. (2017). Paranoid Critiques, Reparative Reductions: Leys, Sedgwick, and the Productive Opacity of Affect. Polygraph: An International Journal of Culture & Politics, 26, 36-64. [details]
2016
2015
- Geil, A. (2015). 'Let us save the heterogeneous sensible:' Vernacular Modernism vs. Cognitive Classicism in the Historical Turn of Film Studies. In A. Beltrame, G. Fidotta, & Andrea Mariani (Eds.), At the Borders of (Film) History: Temporality, Archaeology, Theories: XXI Convegno internazionale di studi sul cinema, Udine, 2-4 aprile 2014 (pp. 335-346). Udine: Forum. [details]
2014
- Geil, A. (2014). Writing, Repetition, Displacement: An Interview with Jacques Rancière. Novel, 47(2), 301-310. https://doi.org/10.1215/00295132-2647203 [details]
2009
- Geil, A. M. (2009). A Foothold for Pain: Movement, Recognition, Close-up. In F. Casetti, J. Gaines, & V. Re (Eds.), Dall'inizio, alle fine. Teorie del cinema in prospettiva / In the Very Beginning, at the Very End. Film Theories in Perspective Udine: Forum.
2004
- Geil, A. M., & Rabinovitz, L. (2004). Introduction. In Memory Bytes: History, Technology, and Digital Culture (pp. 1-21). Durham: Duke University Press.
2013
- Geil, A. (2013). The Spectator without Qualities. In P. Bowman (Ed.), Rancière and Film (pp. 53-82). (Critical connections). Edinburgh University Press. [details]
2009
- Geil, A. M. (Author). (2009). Invited response to N. Katherine Hayles, "Distributing/Disturbing the Chinese Room". Web publication/site, On the Human: The National Humanities Center. Retrieved from http://onthehuman.org/2009/05/distributingdisturbing-the-chinese-room/
2010
- Geil, A. M., & Flaxman, G. (2010). [Review of: J. Hughes. Deleuze and the Genesis of Representation]. Notre Dame Philosophical Reviews, 2010(04.09).
Prijs / subsidie
- Geil, A. M. (2011). Andrew W. Mellon/ACLS Dissertation Completion Fellowship.
- Geil, A. M. (2010). Julian Price Endowed Research Fellowship.
2013
- Geil, A. M. (2013). Plastic Recognition: Politics and Aesthetics of Facial Representation from Silent Cinema to Cognitive Neuroscience.
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Nevenwerkzaamheden
- Geen nevenwerkzaamheden
Geil, A. (2016). Dynamic Typicality. In N. Kleiman, & A. Somaini (Eds.), Sergei M. Eisenstein: Notes for a General History of Cinema (pp. 333-346). (Film Theory in Media History). Amsterdam: Amsterdam University Press.