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Assoc. Prof. Dr. Enrico Terrone

Università degli Studi di Torino

Curriculum Vitae

Enrico Terrone studied at the Politecnico of Turin, where he received his B.A. in Electronic Engineering. From 2008 until 2012, he taught Film History and Criticism at the Università del Piemonte Orientale. From 2011 until 2013, he was a PhD student in Philosophy at Università degli Studi di Torino and was a visiting student at McGill University, Montréal, from January until May 2013 (under the supervision of Prof. David Davies) and at the University of Sheffield from July until August 2013 (under the supervision of Prof. Robert Hopkins). In 2014, he received his doctoral degree from the Università degli Studi di Torino with a thesis entitled “Instances of Cinema. An Ontological Account of Depiction”. Enrico Terrone holds a National Scientific Qualification as Associate Professor in Film Studies and currently is a Post-doctoral Fellow at the Laboratory for Ontology, Department of Philosophy, University of Turin. As a philosopher, he primarily deals with the ontology and aesthetics of film. From October 2014 until January 2015, he was Fellow at the Käte Hamburger Center for Advanced Study in the Humanities “Law as Culture”.

Research Project

Filmmaking the Social World

In contemporary analytic aesthetics, film philosophy has been developed as a methodology for the use of films as philosophical resources. So far, film philosophy has mainly focused on ethical and metaphysical themes, while social ontology has been overlooked. Yet social ontology is an especially well-suited area for film philosophy, since social facts such as love, friendship, family, law, power, and crime are the main topics of the stories told by films. The project shall link film philosophy to social ontology by addressing two issues. First, how social facts are represented in films. Second, how films contribute to shape social facts in the real world. Some films will be selected as case studies in virtue of their capacity to exemplify the construction of social facts. The ultimate purpose is to exploit film philosophy to test the explanatory power of some key notions in social ontology, viz. collective intentionality (cf. Searle 1995 and 2010), documentality (cf. Ferraris 2012), enforceability (cf. Derrida 1994), and normativity (cf. Zaibert and Smith 2007).

Selected Publications

  • Filosofia del film, Rome: Carocci 2014.
  • Normativity of the Background (with Daniela Tagliafico), in: Perspectives on Social Ontology and Social Cognition, Series: Studies in the Philosophy of Sociality, Vol. 4 (ed. by Mattia Gallotti and John Michael), Dordrecht: Springer 2014.
  • The Digital Secret of the Moving Image, in: Estetika: The Central European Journal of Aesthetics, LI/VII, 2014, No. 1, pp. 21-41.
  • Traces, Documents, and the Puzzle of ‘Permanent Acts’, in: The Monist, 97, 2, 2014, pp. 161-178.
  • Wittgenstein’s Picture Theory of Pictures, in: Aisthesis, VI, 1, 2013, pp. 275-290.
  • Filosofia delle serie Tv. Dalla scena del crimine al trono di spade (with Luca Bandirali), Milano-Udine: Mimesis 2012.
  • Connecting Worlds. Mimesis in Narrative Cinema, in: Mimesis: Metaphysics, Cognition, Pragmatics (ed. by. Gregory Currie, Petr Kotatko, and Martin Pokorny), College Publications, London, 2012, pp. 465-479.
  • Il sistema sceneggiatura – Scrivere e descrivere i film (with Luca Bandirali), Torino: Lindau 2009.
  • Nell’occhio, nel cielo – Teoria e storia del cinema di fantascienza (with Luca Bandirali), Torino: Lindau 2008.