Brian Price

Room 226E, 2 Sussex Avenue, Toronto, ON M5S 1J5


Department of Visual Studies


Brian Price works at the intersection of film and philosophy. He is especially interested in the aesthetic dimension of moral and political philosophy, particularly as those modes of inquiry are expanded by the varied forms of the moving image, avant-garde and popular, and the history of film theory. He has also worked extensively on questions about ontology, color, categorization, French cinema, avant-garde film, and the history of film theory. Price is the author of two books, A Theory of Regret (Duke, 2017) and Neither God nor Master: Robert Bresson and Radical Politics (Minnesota, 2011) and is currently completing a book entitled “Assayas and Political Seriousness.” He is also the co-editor of two volumes, On Michael Haneke (Wayne State University, 2010) and Color, the Film Reader (Routledge, 2006). Along with John David Rhodes and Meghan Sutherland, he is a founding editor of World Picture. In addition, current research projects include a theory of shame and the contingency of norms, an inquiry into the relation between value and wonder, as well as a study of the aesthetic dimension of political will.


A Theory of Regret (Durham and London: Duke University Press, 2017).

Neither God Nor Master: Robert Bresson & Radical Politics (Minneapolis: University of Minnesota Press, 2011).

Books Edited

Co-editor, with John David Rhode, On Michael Haneke. (Detroit: Wayne State University Press, 2010).

Co-editor, with Angela Dalle Vacche, Color, the Film Reader. (New York and London: Routledge, 2006).

Articles in Academic Journals

“The Steady Unsteadiness of Theory: On D.N. Rodowick’s Elegy for Theory,” New Review of Film and Television, October 2014, 12 (4): 463-480.

Articles in Books

“Concept,” in Encyclopedia of Film Theory, eds. Edward Branigan and Warren Buckland (New York and London: Routledge, 2013), 104-111.

“Specificity, Medium I,” in Encyclopedia of Film Theory, eds. Edward Branigan and Warren Buckland (New York and London: Routledge, 2013), 436-446.

“The Green Screen (Slightly Toxic)” in Apologies: Stephen G. Rhodes, ed. Raphael Gygax (Zurich: Migros Museum and JRP/Rangier Books, 2013), 43-54.

“Color, Melodrama, and the Problem of Interiority,” Companion to Rainer Werner Fassbinder, ed. Brigitte Peucker (London: Blackwell, 2012), 159-180.

“Moving through Images,” in The Place of the Moving Image, eds. John David Rhodes and Elena Gorfinkel (Minneapolis: University of Minnesota Press, 2011), 299-316.

“Bureaucracy and Visual Style,” Michael Haneke, ed. Roy Grundmann (London: Blackwell, 2010), 301-320.

"Art/Cinema and Cosmopolitanism Today," in Global Art Cinema, eds. Rosalind Galt and Karl Schoonover (New York: Oxford University Press, 2010), 109-124.

"Pain and the Limits of Representation," expanded and reprinted in On Michael Haneke, eds. Brian Price and John David Rhodes (Detroit: Wayne State University Press, 2010), 35-50.

“Heidegger and Cinema,” in European Film Theory, ed. Temenuga Trifonova (New York and London: Routledge, 2008): 108-121.

“The Latest Laocoon: Medium Specificity and the History of Film Theory,” in Handbook of Film and Media Studies, ed. Robert Phillip Kolker (New York: Oxford University Press, 2008): 38-82.

“Color, the Formless, and Cinematic Eros,” reprinted in Color, the Film Reader, eds. Angela Dalle Vacche and Brian Price (London and New York: Routledge, 2006): 76-87.


“What Persists in Iconoclasm,” The Third Rail, Issue 2 (Spring 2014) 
“Aesthetic Inequality and Political Seriousness,” World Picture 9 (Summer 2014)
“A Theory of Regret,” World Picture 6 (Winter 2011)


PhD, New York University
MA, New York University
BA, University of Maryland, College Park


Administrative Service

Graduate Coordinator, 2017-2020