Dr Silke Panse explores documentary moving images in relation to nature, art, television and continental philosophy. She works across theory and practice.
Silke’s research examines documentary moving images through film and art theory. She has written about eco-aesthetics in James Benning’s documentaries in Screening Nature: Cinema beyond the Human (2013) and was the co-investigator of the Screening Nature Network. Her chapter ‘Men in Huts in Woods’ is forthcoming in the collection James Benning’s Environments (2017). Her present research explores the relations between the ethical and the material, and addresses the ethicality of relations between the art work, the artist and their environment. To that end she is editing the volume Ethical Entanglements: Art and Moving Images in the Age of the Anthropocene to which she contributes the chapter ‘For Innocence, Against Purity.’ This volume follows from the symposium Ethics, Art and Moving Images (2016) that she co-organized at UCA. She is currently working on a monograph about documentary between materialism and realism in which she investigates the incongruities between philosophical and cinematographic realism amongst other things. Silke has written about the material labour of aesthetics of the documentary protagonist in A Companion to Contemporary Documentary Film (2015) and about their immaterial labor in Marx at the Movies (2014). She has co-edited A Critique of Judgment in Film and Television (2014) and argued in her chapter ‘The Judging Spectators in the Image’ that the judging spectators are immanent to the work they judge in judgment shows on television. She has explored documentary as painting and the filmmaker as a Rückenfigur in Alexandr Sokurov’s Elegy of a Voyage; ‘What Drawings Can Do That Films Can’t’ in Blind Movies (2009) and ‘“The Bullets confirm the Story told by the Potato”: Materials without Motives in CSI: Crime Scene Investigation.’ In Rethinking Documentary (2008), she has contrasted the labor of defense of the protagonist in western interview documentaries with the aesthetics of trust in the longitudinal GDR documentary series The Children of Golzow (1961- 2007). Silke sometimes makes one-shot films such as Snow Business (2013) which has been shown at the Whitechapel Gallery. She has taught in film, art and media departments in the UK on BA, MA and PhD level and has received her PhD from the Film Studies department of the University of Kent in 2007.
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