Martin P. Rossouw is an NRF Y-rated Associate Professor of Film and Visual Media and head of the Department of Art History and Image Studies at the University of the Free State. He is the author of Transformational Ethics of Film (Brill, 2021) and co-editor of What Film is Good For: On the Values of Spectatorship (University of California Press, 2023)—which in March 2024 won the U.S.-based Popular Culture Association’s award for Best Edited Collection in Popular and American Culture. He serves as editor of Brill`s Contemporary Cinema book series and is an editorial board member of Intellect’s Short Film Studies. His most recent journal publications appear in Film-Philosophy, Literature/Film Quarterly, Short Film Studies, Akademisk Kvarter, and New Review of Film and Television Studies.
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Books:
2023. What Film is Good For: On the Values of Spectatorship (co-edited with Julian Hanich). Oakland, CA: University of California Press, 2023.
2021. Transformational Ethics of Film: Thinking the Cinemakeover in the Film-Philosophy Debate [Open Access]. Leiden: Brill. Value Inquiry Book Series.
Book Chapters:
2024. Rear Window: Intermedialities of peeping in the plural. In Melanie Robson and Luke Robinson (eds.), One Shot Hitchcock: A Contemporary Approach to the Screen. Oxford: Oxford University Press: 141–161.
2023. Spiritual exercises before a screen: On ‘film as philosophy’ and its transformational ethics. In Julian Hanich and Martin P. Rossouw (eds.), What Film Is Good For: On the Values of Spectatorship. Oakland, CA: University of California Press: 221–233.
2023. Introduction: Film ethics as delivering the goods (co-authored with Julian Hanich). In Julian Hanich and Martin P. Rossouw (eds.), What Film Is Good For: On the Values of Spectatorship. Oakland, CA: University of California Press: 1–10.
2023. m??Re tH@n WorD$: Aspects and appeals of the lyric video (co-authored with Carol Vernallis, Laura McLaren, Virginia Kuhn. In Holly Rogers, Joana Freitas, and João Francisco Porfírio (eds.), YouTube and Music: Online Culture and Everyday Life. London: Bloomsbury: 149–166.
Journal Publications:
2024. Reflexive Wonderings: Prospects and Parameters of a Heideggerian Approach to Film as Philosophy. Film-Philosophy 28 (1): 47–61.
2023. ‘Compression Makes Every Movie a Melodrama’: A Conversation with Laura U. Marks on the Small File Media Festival. Short Film Studies 13 (1): 11–20.
2021. Watchmen, From Co-Mix to Remix. Literature/Film Quarterly 49 (4): online.
2021. (with Johanet Kriel-de Klerk) ‘Strangely comforted’: The rhetoric of sincerity in Kirsten Lepore’s Hi Stranger. Short Film Studies 11 (2): 199-209.
2021. The Lyric Video as Moving Concrete Poetry, Or: The Pleasures of Eye-Tennis with Tay-Tay. In Media Res, April 28 [online].
2021. Mr K meets Modern Times: Intertextual Closure in La Vis. Short Film Studies 11 (1): 31-35.
2020. Adaptation and Audio-Visual Apophasis in Bullet in the Brain. Short Film Studies 10 (2): 215-218.
2019. From Wander to Wonder: Walking – and ‘Walking-With’ – in Terrence Malick’s Contemplative Cinema. Akademisk Kvarter | Academic Quarter, 18: 41-55.
2019. Left-Right Dynamics of Staging and Composition in Class 15. Short Film Studies 9 (1): 101-104.
2018. Zepo as Metapicture of Its Making. Short Film Studies 8 (1): 29-32.
2017. There’s Something About Malick: Film-Philosophy, Contemplative Style, and Ethics of Transformation. New Review of Film and Television Studies, 15 (3): 279-298.
2017. Of Metaphor and Machine: Some Nuts and Bolts Behind Modern Times as Philosophy. Image & Text, 30: 38-72.
2013. Loyalty, Women and ‘Business’: Ideological Hyper-Values in Quentin Tarantino’s Pulp Fiction. Acta Academica, 45(4): 84-118.