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Mario Slugan is a postdoctoral associate fellow in the Department of Film and Television Studies and the Department of German Studies at the University of Warwick, UK researching film philosophy and film history. He is the author of Montage as Perceptual Experience: Berlin Alexanderplatz from Döblin to Fassbinder (2017) and the managing editor of an open-access peer-reviewed academic journal Apparatus: Film, Media and Digital Cultures of Central and Eastern Europe. Author affiliation details are correct at time of print publication.

Felicity Colman is Director of Research Programmes at Kingston University, London, UK. Author affiliation details are correct at time of print publication.

Anna Kornbluh is Associate Professor of English at the University of Illinois, Chicago, US. She is the author of Realizing Capital (2013), and her articles on Marxist aesthetics have appeared in Mediations, Novel, the LARB, Understanding Film: Marxist Perspectives, Lacan & Contemporary Cinema, and the Bloomsbury Companion to Marx. Author affiliation details are correct at time of print publication.

Mario Slugan is a postdoctoral associate fellow in the Department of Film and Television Studies and the Department of German Studies at the University of Warwick, UK researching film philosophy and film history. He is the author of Montage as Perceptual Experience: Berlin Alexanderplatz from Döblin to Fassbinder (2017) and the managing editor of an open-access peer-reviewed academic journal Apparatus: Film, Media and Digital Cultures of Central and Eastern Europe. Author affiliation details are correct at time of print publication.

Mario Slugan is a postdoctoral associate fellow in the Department of Film and Television Studies and the Department of German Studies at the University of Warwick, UK researching film philosophy and film history. He is the author of Montage as Perceptual Experience: Berlin Alexanderplatz from Döblin to Fassbinder (2017) and the managing editor of an open-access peer-reviewed academic journal Apparatus: Film, Media and Digital Cultures of Central and Eastern Europe. Author affiliation details are correct at time of print publication.

William Rothman

Mario Slugan is a postdoctoral associate fellow in the Department of Film and Television Studies and the Department of German Studies at the University of Warwick, UK researching film philosophy and film history. He is the author of Montage as Perceptual Experience: Berlin Alexanderplatz from Döblin to Fassbinder (2017) and the managing editor of an open-access peer-reviewed academic journal Apparatus: Film, Media and Digital Cultures of Central and Eastern Europe. Author affiliation details are correct at time of print publication.

Mario Slugan is a postdoctoral associate fellow in the Department of Film and Television Studies and the Department of German Studies at the University of Warwick, UK researching film philosophy and film history. He is the author of Montage as Perceptual Experience: Berlin Alexanderplatz from Döblin to Fassbinder (2017) and the managing editor of an open-access peer-reviewed academic journal Apparatus: Film, Media and Digital Cultures of Central and Eastern Europe. Author affiliation details are correct at time of print publication.

Mathew Abbott

David LaRocca edited Stanley Cavell’s Emerson’s Transcendental Etudes, and later edited The Philosophy of Charlie Kaufman (2019), The Philosophy of War Films (2014), and The Philosophy of Documentary Film: Image, Sound, Fiction, Truth (2017), and is the author or editor of another handful of volumes. He has taught philosophy and cinema, and held visiting research and teaching positions at Vanderbilt University, Harvard University, Ithaca College, State University of New York at Cortland, Binghamton University, and Cornell University. More details at davidlarocca.org. Author affiliation details are correct at time of print publication.