Christine Evans’ research focuses on the intersections between film theory, continental philosophy, Lacanian psychoanalysis, and love. She holds a Ph.D in Film Studies from The University of Kent, Canterbury, where her dissertation explored how Slavoj Žižek’s work on love and universality has influenced film theory and film philosophy. She has published primarily on cinema as it relates to Lacanian psychoanalytic theory, classical and 1970s film theory, the work of Slavoj Žižek, and philosophical conceptions of love. She has also published and presented work on a breadth of interdisciplinary topics such as tautology and Hegel, David Cronenberg’s male melodramas and shame, Stella Dallas and liberal humanism, love and Samuel Barber’s Concerto for Violin and Orchestra, Søren Kierkegaard and neighbour love, queerness and homosociality, popular music and universality, and economies of worth and waste.

At UBC, she has taught the following courses: Introduction to Film Studies, Film Theory, Canadian Cinema, Hollywood Cinema 1930-1960, European Cinema, Film Genre (Musicals), Film Authorship (Pedro Almodóvar and Claire Denis), Westworld, Genre, and Ideology, Sex and Cinema, Cinema’s Bad Parents, Truth and Deception in Cinema, and To the Lighthouse: Ethics and Agency in the Bioshock Videogame Trilogy. She also supervises honours undergraduate theses, was the Film Studies undergraduate advisor (2016-2019), and is faculty advisor for Cinephile, UBC’s graduate journal of film studies.

She is a member-at-large of the Film Studies Association of Canada and was the local area coordinator of the 2019 FSAC conference at Congress of the Humanities.

She is currently working on a book entitled Slavoj Žižek and Film: A Cinematic Ontology (Bloomsbury, forthcoming) for the series Film Thinks: How Cinema Inspires Writers and Thinkers (series eds. Lúcia Nagib and Tiago de Luca). She has spent the past several years researching a project on the externality of thought in cinema. She plans to follow these projects with a close reading of André Bazin’s work on love in cinema, arguing that Bazin positions love as an alternative mode that radicalizes epistemology.

All that she cares about is film theory.

Winter 2019

FIST100 Introduction to Film Studies Sections

Basic aesthetic, economic, sociological, and technological aspects of film.

Winter 2019

FIST200 Introduction to Canadian Cinema Sections

History and aesthetics of Canadian cinema.

Winter 2019

FIST331 Studies in Film Theory Sections

A seminar introducing the many theoretical approaches to film: formalist, historical, Marxist, psychoanalytic, semiotic, and structuralist.

Winter 2019
No FIST course(s) were found for W2019 term.Winter 2019
No FIST course(s) were found for W2019 term.Winter 2019
No FIST course(s) were found for W2019 term.Winter 2019

FIST449 Honours Essay Sections

A course allowing honours students to work with a faculty member on a major research paper.

Refereed publications in print:

“The Analogical Parallax.” The International Journal of Žižek Studies 8:2 (2014).

Plus-de-Jouir, Plus A: The Work of Love.Contours 5 – ‘Sixty Years After Lacan: The Symbolic Order in the 20th Century’ (Fall 2014).

“Inherent Transgression” (entry). The Žižek Dictionary. Ed. Rex Butler. Durham: Acumen Publishing, 2014.

“The Love of a Good Neighbour: Divine Love, Otherness, and the Object-Cause of Desire.”Otherness: Essays and Studies 4:1 – ‘Philosophy and the Other’ (2013).

“M. Hommelette’s Wild Ride: Lamella as a Category of Shame.” The International Journal of Žižek Studies 2:2 (2008).

“Medea’s Family Reunion: The Lacanian Act and Aphanisis as a Challenge to Liberal Humanism.” Cinephile Vol. 3 (Fall 2007): 47-60.

“I Fought the Law and the Law Won: Transgression, the Act, and Narratives of Aphanisis in Claude Chabrol’s Story of Women.” Refractory: A Journal of Entertainment Media. Vol. 9 (2006).

“I’m in Love! I’m a Believer!: Structures of Belief in Jonathan Glazer’s Birth.” Cinephile Vol. 2 (March 2006): 9-17.

“Shared Vision/Shared Trauma: The Ethics and the Ethos of Shared Vision in Aki Kaurismaki’sThe Man Without a Past and Ingmar Bergman’s The Passion of Anna.” Journal of Finnish Studies9:1 (August 2005): 17-26.

“I am not a fascist, since I do not like shit. I am not a sadist, since I do not like kitsch: Sadism, Serial Killing, and Kitsch.” Cinephile Vol. 1 (April 2005): 6-9.