Dr Silke Panse explores documentary moving images in relation to nature, art, film, television and continental philosophy. She works across theory and practice.
Silke’s research examines documentary moving images and their human and nonhuman protagonists and environments. She was the co-investigator of the Screening Nature Network (2013-14) and has written about documentary eco-aesthetics in Screening Nature: Cinema beyond the Human (2013). She has co-edited A Critique of Judgment in Film and Television (2014) which includes her chapter ‘The Judging Spectators in the Image’ as an example of television as philosophy. For A Companion to Contemporary Documentary Film (2015) she was the sub-editor of the theme on ‘Work’ and wrote about the material labour of aesthetics of the documentary protagonist. She wrote about the immaterial labor of the documentary protagonist in Marx at the Movies (2014). In Rethinking Documentary (2008), she contrasted the labor of defense of the protagonist in western interview documentaries with the aesthetics of trust in the GDR documentary series The Children of Golzow (1961- 2007). Her chapter ‘“The Bullets confirm the Story told by the Potato”: Materials without Motives in CSI: Crime Scene Investigation’ (2007) examines object subjectivity. Silke has explored documentary as painting with respect to Alexandr Sokurov’s Elegy of a Voyage in Third Text (2006) and looked at ‘What Drawings Can Do That Films Can’t’ in Blind Movies (2009). Silke sometimes makes one-shot films such as Snow Business 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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