Skip to main content
Graduate Program in Communication & Culture

Faculty Profiles

Temenuga D. Trifonova

Media & Culture/ Technology in Practice


York University
E-Mail Address

Phone Number (416) 736-2100 ext. 33582
Office Location CFT 215


B.A. (American University in Bulgaria); MA (Emporia State University); PhD (SUNY Buffalo); M.F.A. (University of California)


Temenuga Trifonova joined the Department of Film in the Fall of 2008. She is affiliated with the Canadian Center for German and European Studies and cross-appointed with the Graduate Program in Humanities at York University. Temenuga has previously taught at the University of California, Santa Cruz and at the University of New Brunswick. She is interested in recent European cinema, psychopathology and cinema, time and cinema, screenwriting, Continental philosophy, aesthetic theory, and photography. She is currently working on a feature-length screenplay and a short film.

Research Interests

European cinema, Film theory, Film remakes, Film adaptations, Pathology and Film, Aesthetic theory, Screenwriting

Selected Publications


European Film Theory, AFI Film Readers Series (Series Editors Edward Branigan and Charles Wolfe, UC Santa Barbara) (New York and London: Routledge, 2008)

The Image in French Philosophy, Rodopi (Amsterdam & New York, 2007)

Invited contributions:

“The Disappearing Image: Cavell on Film and Skepticism” in Philosophy of the Image: Presence, Absence, and New Media, eds. Jacques Khalip (Brown University) and Robert Mitchell (Duke University), Stanford University Press (forthcoming in 2010)

“Michael Haneke and the Politics of Film Form” in The Cinema of Michael Haneke: Europe Utopia, eds. Benjamin McCann (Adelaide University) and David Sorfa (Liverpool John Moore University), Wallflower Press (2009)

“Stoned on Mars: Home and National Identity in Bulgarian Post-Communist Cinema,” Cineaste (June 2007), special supplement on Balkan Cinema, ed. Dina Iordanova (University of St. Andrews)

Chapters in edited collections:

“The Aesthetics and Politics of the Yakuza Sequel: Seijun Suzuki’s Branded to Kill (1967) and Pistol Opera (2001)” in Genre in Asian Film and Television, eds. Angelina Karpovich and Felicia Chan (forthcoming from Macmillan, 2010)

“From Distraction to Indeterminacy to Distraction: Kracauer and Contemporary Film Realist Discourse,” in European Film Theory (ed. Temenuga Trifonova, Routledge, 2008)

“Anti-Theatre on Film,” From Camera Lens to Critical Lens: A Collection of Best Essays on Film Adaptation, Cambridge Scholars Press (editor: Rebecca Housel), 2006

Journal Articles:

“The Chronicle of the Multiple in Hollywood Cinema,” in The European Journal of American Culture (forthcoming in 2010)

“The Role of Photography and Cinema in the Construction of Pathology at the Fin de siècle,” Quarterly Review of Film and Video (under review)
“Code Unknown: European Identity in Cinema,” Scope (University of Nottingham), June 2007

“Distracted Cinema: Kracauer and Realist Film Discourse,” EXCAVATIO, volume XXII, 2007

“John Ford’s Funeral Oration: The Man Who Shot Liberty Valance,” Senses of Cinema, # 45, 2007

“Cinematic Cool: Jean-Pierre Melville’s Le Samourai,” Senses of Cinema, Issue #39, April-June, 2006

“Orson Welles’ The Trial,” Senses of Cinema, Issue #38, January-March 2006

“Mind and Body Snatchers: The Evolution of the Sci Fi Film Genre,” Film and Philosophy, vol. 9, 2005

“Anti-Theatre on Film,” Scope (University of Nottingham), Issue #3, November 2005

“The Fantastic Redemption of Reality,” Quarterly Journal of Film and Video 23.1 (2005)

“Special Effects: Simulation in Cinema,” Kinema: A Journal for Film and Audiovisual Media, No. 21, Spring 2004

“A Nonhuman Eye: Deleuze on Cinema,” SubStance # 104, Vol.33, no.2, 2004

“Is There a Subject in Hyperreality?” Postmodern Culture, Volume 13, Number 3 (2003)

“Schiller’s On the Aesthetic Education of Man: The Origins of the Postmodern Sublime in the Ethical Evaluation of the Aesthetic,” Kritikos, Volume 1, December 2004

“The Question of the Appendix: The Kantian and the Inhuman Sublime,” International Studies in Philosophy Volume XXXV/2 (2003)
“Matter-Image or Image-Consciousness: Bergson contra Sartre,” Janus Head, Spring 2003/6.1

By Field of Study
























Harold [Innis] taught us how to use the bias of culture and communication as an instrument of research. By directing attention to the bias, or distorting power of the dominant imagery and technology of any culture, he showed us how to understand cultures.
~ Marshall McLuhan