PhD in Cinema Studies, New York University
Sam Ishii-Gonzales, Ph.D., is Assistant Professor of Film in the School of Media Studies. He teaches courses on aesthetics, media theory and film production and serves as Coordinator of the Focus Area in Film Form. He is the co-editor of two books on Hitchcock and has published essays on a variety of artists and philosophers, including Francis Bacon, Henri Bergson, Claire Denis, Gilles Deleuze and David Lynch. His writings have been translated into Hungarian and Italian. His current book project is entitled “Being and Immanence, or Non-Acting for the Cinema.” It considers the different uses of the non-actor throughout cinema history and the relevance of this figure for understanding the ontology of film. He is also at work on an anthology that focuses on the conceptual and theoretical implications of cinematic form. Along with his scholarly work, he is developing a collaborative film project inspired by the philosopher Henri Bergson’s opus Matter and Memory (published in 1896).
Art After Deleuze: From Architecture to New Media,/ David Lynch: Logic of Sensation / Film Theory and Philosophy / Foucault and Rancière: Ethics as a Mode of Aesthetics / Jean-Luc Godard: Art/Theory/Politics / Media Practice: Film Form / Mediated Time: Capture and Release
“Suspended Meaning: On Bergson and Cinematic Perception,” in World Picture 7 (2012) at http://www.worldpicture journal.com/WP_7/Ishii-Gonzales.html.“Reinventing Community: Non-Relational Relations in Claire Denis’s J’ai pas sommeil,” in Marjorie Vecchio (ed.), Films of Claire Denis: Intimacy on the Border (London: I.B. Tauris, 2013).
Film and philosophy / avant-garde art / the relation between theory and practice
In spring 2011, Sam participated in the roundtable discussion “Meanwhile...” on art and time organized by Ad Hox Vox and featuring Royal S. Brown, Mary Ann Caws, Jennifer Reeves, and Rebecca Schneider. The event took place at the gallery Foxy Production.In fall 2011, he joined curator Joshua Simon for a discussion of the political cinema of Jean-Luc Godard in the one-day symposium United States of Palestine and Israel: Here and Elsewhere. The event was organized by the Vera List Center.In fall 2012, he delivered a three-part lecture series on “Forms of Cinema” at the Museo Arte Contemporaneo de Oaxaca in Mexico. It was accompanied by a troika of film screenings: Rear Window (Alfred Hitchcock, 1958), The Mirror (Andrei Tarkovsky, 1975) and Silent Light (Carlos Reygadas, 2006).In spring 2011, 2012 and 2013, he served as Producer of the week-long series of events that constitutes the Dorothy H. Hirshon Film Festival, sponsored by the School of Media Studies. The festival includes a screening and master class with a director-in-residence and an Invitational Film Show featuring outstanding work by student filmmakers working in all genres/styles of film.
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