Silke Panse’s research is transdisciplinary, between theory and practice as well as between the disciplines of film, art, television and philosophy with a particular interest in Spinoza, Uexküll and Deleuze. It is often focused on documentary moving images in diverse manifestations, but also on ethical or eco-aesthetic philosophical questions around materialism and realism. She is working towards two monographs, one on situated screens and one on innocence. Following the symposium Ethics, Art and Moving Images (2016) she has edited the collection Ethical Materialities in Art and Moving Images (2021) which include her chapters ‘What are Ethical Materialities?’ and ‘Unethical Materialities of Inadequate Images: With Spinoza, Uexküll and Deleuze Beyond Weinstein into the Neverseen Human Umwelten of Fiction Film’. Her short essay ‘Of Cows, Cryptocurrencies, and Machines in Images’ was published in Docalogue in March 2019. Her essay debating the question ‘Is the Sparrow an Aktant in Being Shot?’ will be published in a German collection about documentary in 2021. She is the co-editor of A Critique of Judgment in Film and Television (2014) which includes her chapter ‘The Judging Spectator in the Image’ and the co-authored introduction ‘‘Judgment between Ethics and Aesthetics.’ She was the co-investigator of the AHRC-funded Screening Nature Network (2013-14) and has published ‘Ten Skies, 13 Lakes, 15 Pools’ in Screening Nature: Cinema Beyond the Human (2013) and ‘Men in Huts in Woods’ (2018) in James Benning’s Environments both about Benning’s films. She has written about the documentary protagonists’ material labour of aesthetics in A Companion to Contemporary Documentary Film (2015) and about their immaterial labour in Marx at the Movies (2014). Her essay ‘The Filmmaker as Rückenfigur, Documentary as Painting’ (2006) appeared in Third Text and ‘“The Bullets confirm the Story told by the Potato”: Materials without Motives in CSI’ in Reading CSI: Crime Television Under the Microscope.