Dr Chiara Quaranta

Teaching Fellow in Film Studies

Background

Dr Chiara Quaranta is Teaching Fellow in Film Studies at the University  of Edinburgh, where she also completed her PhD on philosophical and cinematic iconoclasm in 2019. She has previously taught film modules at the Universities of Edinburgh, Stirling and Dundee. She is an editorial board member of the Film-Philosophy journal. Her research interests lie at the intersection of philosophy and cinema, with particular attention to ethics and aesthetics.

Qualifications

2019 - PhD in Film Studies (University of Edinburgh)

2014 – MA in Film Studies (Università degli Studi Roma Tre)

2011 – Master Certificate in Screenwriting and Film Production (Università Cattolica del Sacro Cuore)

2010 – BA in Art, Music and Performing Arts (Università degli Studi Roma Tre)

Undergraduate teaching

Introduction to European Cinema

 

Previous:

Global Cinema

Global Film as/& Philosophy

Classic European Cinema

Post-War European Cinema

Reading the Screen

 

Postgraduate teaching

Film Theory

Sound and Cinema (course organiser)

Film-Philosophy

Global Women Filmmakers (course organiser)

Film Adaptation

Cinema Auteurs 

Research Methods in Film Studies

 

 

 

 

Open to PhD supervision enquiries?

No

Areas of interest for supervision

Unfortunately I am not able to offer lead supervision for the PhD in Film Studies.

If you are interested in applying for the PhD in Film Studies please go to: https://www.ed.ac.uk/literatures-languages-cultures/film/phd-film-studies

Research summary

  • Film-philosophy
  • Iconoclasm/Image-destruction and film
  • The voice in cinema
  • European cinema
  • Sound and film
  • Gender and cinema
  • Cinematic ethics
  • Film and religion
  • Art house film
  • Cinema and aesthetics

Papers delivered

“Iconoclastic Gestures: Image-Destruction and Ethical Imagination in the Cinema.” SineFilozofi, International Symposium on Cinema and Philosophy V, Ankara, 9-11 December 2022.

“Desiring Bodies: Céline Sciamma's Sensuous Cinema.” BAFTSS Conference, University of Southampton, 7-9 April 2021.

Interview (September 30, 2020). Interview on Ray Harryhausen, documentary report. BBC Scotland [C. Bobyn, interviewer].

“Icons and Idols: Philosophical Iconoclasm in the Cinema.” Film-Philosophy Conference, University of Brighton, 9-11 July 2019.

“A Blind Tale in a Visual Medium: João César Monteiro’s Anti-Mimetic Snow White.” NECS –European Network for Cinema and Media Studies Conference, University of Gdańsk, 13-15 June 2019.

“Cinematic Images: Audio-Visual Flux or Relational Entities?” Film-Philosophy Conference, University of Gothenburg, 3-5 July 2018.

“Cinematic Iconoclasm, or the End of the Filmic World (as We Know It).” Franco-Scottish Doctoral Seminar with Antoine de Beacque, French Institute Edinburgh, 1 December 2017.

“The Image between Iconoclasm and Iconophilia: From Plato to Cinema.” The 8th International Conference on the Image, Venice International University, 31 October-1 November 2017.

“Profound Boredom as Aesthetic Category: Isidore Isou’s Traité de bave et d’éternité.” Film-Philosophy Conference, Lancaster University, 4-6 July 2017.

“Cinematic Iconoclasm in Krzysztof Kieślowski’s Three Colours: Blue.” Doctoral Seminar, The University of Edinburgh, 1 March 2017.

Book

Iconoclasm in European Cinema: The Ethics and Aesthetics of Image Destruction [Forthcoming,  Edinburgh University Press]

 

Articles

“Confirmations that Were not Meant to Be: Religion, Violence and the Female Body in Love Like Poison, Heavenly Body and Stations of the Cross,” co-authored with Silvia Angeli, Studies in European Cinema, (May 2021). DOI: https://www.tandfonline.com/.../10.../17411548.2021.1921931

 

“A Cinema of Boredom: Heidegger, Cinematic Time and Spectatorship,” Film-Philosophy, Volume 24, Issue 1 (February 2020), pp. 1-21.

DOI: https://www.euppublishing.com/doi/abs/10.3366/film.2020.0126

 

Book Review

“Nathan Andersen (2014) Shadow Philosophy: Plato’s Cave and Cinema,” Film-Philosophy, Volume 22, Issue 2 (June 2018), pp. 317-320.

DOI: https://www.euppublishing.com/doi/full/10.3366/film.2018.0082