Ludo De Roo
Biographic Data
| ID | 4634648 |
|---|---|
| NAME | Ludo De Roo |
| GIVEN NAMES | Ludo |
| FAMILY NAME | De Roo |
| SIGNATURE | DE ROO L |
| AFFILIATIONS | Macquarie University |
| ORCID | 0000-0002-3439-949X |
| VERIFIED | Yes |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 2 |
| AUTHOR COUNT | 7 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2019 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
Kidlat Tahimik
Philippine filmmaker Kidlat Tahimik’s debut film Perfumed Nightmare (1979) reveals a sophisticated use of what I term “concrete metaphor:” while evoking complex layers of decolonial critique, his 16mm cinematography keeps the metaphorical abstractions firmly grounded in material reality — a stone bridge, tropical foliage, and rustic sounds of nature. This essay considers the complex role of concrete metaphors in Tahimik’s evolving style. I start …
Philosophy at the Movies
Midway through the second decade of the twenty-first century, the paradigm of “film-philosophy” has established itself as a transdisciplinary perspective bridging academic philosophy and scholarly
Slow Cinematic Atmosphere
Mediating the elemental
Up until the 19th century, the notion ‘medium’ described the natural elements – e.g. earth, water, fire, and air. John Durham Peters’ media philosophy (2015) demonstrates how contemporary technical media rely on this forgotten elemental dimension; as cultural techniques, media can reveal the elemental’s environmental sense. Against its broader philosophical background, I extend Peters’ account into a ‘trans-materialist’ film-philosophy: I claim t…
An Ambiguous World of Film
Shawn Loht's ground-breaking Phenomenology of Film: A Heideggerian Account of the Film Experience (2017) offers a detailed account of film experience as rooted in Martin Heidegger's existential structure of Dasein. Adapting Being and Time for a phenomenology of cinematic experience, Loht accurately describes how various existential structures of Dasein are “fostered” by the projected world of film: in Loht's account, being-in-the-world is extende…
Sean Cubitt (2020) Anecdotal Evidence
Elemental Imagination and Film Experience
In an age of ecological disasters and increasing environmental crisis, the experience of any cinematic fiction has an intrinsic ethical potential to reorient the spectator’s awareness of the ecological environment. The main argument is that the spectator’s sensory-affective and emphatically involving experience of cinema is essentially rooted in what I call “elemental imagination.” This is to say, first, that the spectator becomes phenomenologica…
Elemental Imagination and Film Experience
In an age of ecological disasters and increasing environmental crisis, the experience of any cinematic fiction has an intrinsic ethical potential to reorient the spectator’s awareness of the ecological environment. The main argument is that the spectator’s sensory-affective and emphatically involving experience of cinema is essentially rooted in what I call “elemental imagination.” This is to say, first, that the spectator becomes phenomenologica…
Elemental Imagination and Film Experience
In an age of ecological disasters and increasing environmental crisis, the experience of any cinematic fiction has an intrinsic ethical potential to reorient the spectator’s awareness of the ecological environment. The main argument is that the spectator’s sensory-affective and emphatically involving experience of cinema is essentially rooted in what I call “elemental imagination.” This is to say, first, that the spectator becomes phenomenologica…
Sean Cubitt (2020) Anecdotal Evidence
Mediating the elemental
Up until the 19th century, the notion ‘medium’ described the natural elements – e.g. earth, water, fire, and air. John Durham Peters’ media philosophy (2015) demonstrates how contemporary technical media rely on this forgotten elemental dimension; as cultural techniques, media can reveal the elemental’s environmental sense. Against its broader philosophical background, I extend Peters’ account into a ‘trans-materialist’ film-philosophy: I claim t…
An Ambiguous World of Film
Shawn Loht's ground-breaking Phenomenology of Film: A Heideggerian Account of the Film Experience (2017) offers a detailed account of film experience as rooted in Martin Heidegger's existential structure of Dasein. Adapting Being and Time for a phenomenology of cinematic experience, Loht accurately describes how various existential structures of Dasein are “fostered” by the projected world of film: in Loht's account, being-in-the-world is extende…
Slow Cinematic Atmosphere
Kidlat Tahimik
Philippine filmmaker Kidlat Tahimik’s debut film Perfumed Nightmare (1979) reveals a sophisticated use of what I term “concrete metaphor:” while evoking complex layers of decolonial critique, his 16mm cinematography keeps the metaphorical abstractions firmly grounded in material reality — a stone bridge, tropical foliage, and rustic sounds of nature. This essay considers the complex role of concrete metaphors in Tahimik’s evolving style. I start …
Philosophy at the Movies
Midway through the second decade of the twenty-first century, the paradigm of “film-philosophy” has established itself as a transdisciplinary perspective bridging academic philosophy and scholarly
Art (5 works) · Aesthetics (4 works) · Epistemology (4 works) · Movie theater (4 works) · Cinema and Media Studies (3 works) · Existentialism (3 works) · Literature (3 works) · Philosophy (3 works) · Sociology (3 works) · Computer Science (2 works)