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Abstract
Film has always played a crucial role in the imagination of disaster. The earthquake, especially, transforms our understanding of the limits and possibilities of cinema, as well as of life itself. After major quakes in countries as dissimilar as Japan, Chile, Iran and New Zealand, film-makers have responded with films that challenge ingrained social, political, ethical and philosophical categories of thinking and being in the world. Film on the Faultline explores the fractious relationship between cinema and seismic experience and addresses the important role that cinema can play in the wake of such events.