Dr. A.M. (Abe) Geil

Faculteit der Geesteswetenschappen

Dep. Mediastudies

Bezoekadres

Turfdraagsterpad 1

Postadres

Postbus 94550
1090 GN Amsterdam

Contactgegevens

A.M.Geil@uva.nl

Publicaties
2024

Geil, A. M. (in press). Leaves of Grass. In A. Ackerman, L. Arsenjuk, M. Olivero, & A. Solin (Eds.), Reading with Sergei Eisenstein (Reading with Filmmakers). caboose press.

Geil, A. M. (in press). Mécanisme de la physionomie humaine. In Reading with Sergei Eisenstein (Reading with Filmmakers). caboose press.

Geil, A. M. (in press). The Expression of Emotion in Man and Animals. In A. Ackerman, L. Arsenjuk, M. Olivero, & A. Solin (Eds.), Reading with Sergei Eisenstein (Reading with Filmmakers). caboose press.

2023

Geil, A. (2023). The Line of the Impossibility of Flight: Eisenstein, Disney, Malabou. In E. Brinkema, R. Clark, & E. Waldman (Eds.), Graphic Formalism (ASAP/J). ASAP/J. https://asapjournal.com/graphic-formalism-the-line-of-the-impossibility-of-flight-eisenstein-disney-malabou-abraham-geil/ [details]
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Geil, A., & Jirsa, T. (2023). Configurations of Portraiture: Subjectivity, Techniques, Mediality. In A. Geil, & T. Jirsa (Eds.), Reconfiguring the Portrait (pp. 1-17). (Technicities). Edinburgh University Press. https://doi.org/10.1515/9781399525091-005 [details]

Geil, A., & Jirsa, T. (Eds.) (2023). Reconfiguring the Portrait. (Technicities). Edinburgh University Press. Advance online publication. https://doi.org/10.1515/9781399525091 [details]

de Zeeuw, D., & Geil, A. (2023). 'This Person Does Not Exist': From Real Generalization to Algorithmic Abstraction in Photographic Portraiture. In A. Geil, & T. Jirsa (Eds.), Reconfiguring the Portrait (pp. 43-60). (Technicities). Edinburgh University Press. https://doi.org/10.1515/9781399525091-007 [details]

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. http://www.worldpicturejournal.com/WP_13/Geil_13.html [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. https://polygraphjournal.files.wordpress.com/2018/02/polygraph-26_abraham-geil1.pdf [details]

2016

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 University Press. [details]
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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). 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). Duke University Press. https://www.dukeupress.edu/Memory-Bytes/

Geil, A., & Rabinovitz, L. (Eds.) (2004). Memory Bytes: History, Technology and Digital Culture. 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 or website, The National Humanities Center. 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). http://ndpr.nd.edu/news/24327-deleuze-and-the-genesis-of-representation/
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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Dr. A.M. (Abe) Geil

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