Young, Iris Marion. Throwing Like a Girl and Other Essays in Feminist Philosophy and Social Theory. Bloomington: Indiana University Press, 1990. Walter Benjamin, “On the Concept of History,” 2005, https://www.marxists.org/reference/archive/benjamin/1940/history.htm (last accessed May 1, 2020).

Thomas Morsch, “Filmische Erfahrung im Spannungsfeld zwischen Körper, Sinnlichkeit und Ästhetik,” montage AV 19:1, 2010, pp. 55–77. Andrew, J. Dudley. “The Neglected Tradition of Phenomenology in Film Theory.” In Wide Angle 2:2, 1978, 44–49.Hanich: Let’s move to your conceptualisation of the ‘film’s body’ – the idea that in films we encounter a quasi-subject that not only perceives a world but also confronts us with the expression of its perception. This was certainly the most controversial concept in the book.

Christa Blümlinger, Kino aus zweiter Hand: Zur Ästhetik materieller Aneignung im Film und in der Medienkunst, Berlin 2009.

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that stories have the power to convey other people’s experiences to us and allow us to imaginatively “relive” them, such that by using imagination and empathy we are able, from the perspective of the narrator or characters, to relate to their experience as if we ourselves were having it right now. Footnote 103 Mitry, Jean. Esthétique et psychologie du cinéma. 2 Vols. Paris: Éditions Universitaires, 1963, 1965.

Chion, M., 1990. Audio-vision: Sound on Screen. Edited and translated from French by C. Gorbman 1994. New York: Columbia University Press. Although my most novel contributions here are, I hope, to our understanding of the technologies of cinematic and electronic representation (those two materialities that constitute our current moving-image culture), something must first be said of that culture’s grounding in the context and phenomenology of the photographic (which has provoked a good deal of phenomenological description). [3] The photographic mode of perception and representation is privileged in the period of market capitalism located by Jameson as beginning in the 1840s. This was a “moment” emergent from and driven by the technological innovations of steam-powered mechanization, which both enabled unprecedented industrial expansion and informed the new cultural logic of realism. Not only did industrial expansion give rise to other modes and forms of expansion, but this expansion was itself historically unique because of its unprecedented visibility. As Jean-Louis Comolli points out: “The second half of the nineteenth century lives in a sort of frenzy of the visible. . . . [This is] the effect of the social multiplication of images. . . . [It is] the effect also, however, of something of a geographical extension of the field of the visible and the representable: by journies, explorations, colonisations, the whole world becomes visible at the same time that it becomes appropriatable” (122-23). Thus, although the cultural logic of realism has been seen as represented primarily by literature (most specifically, the bourgeois novel), it is, perhaps, even more intimately bound to the mechanically achieved, empirical, and representational “evidence” of the world constituted—and expanded—by photography. Following Walter Benjamin (and contrary to his reservations about film as mass art), it can be maintained that no art can historically articulate the past in the way cinema can, for inherent in the transience of the film image is a specific possibility of experience and thought. Footnote 81 The Scene of the Screen: Envisioning Cinematic and Electronic ‘Presence," in Materialities of Communication, ed. Hans Ulrich Gumbrecht and K. Ludwig Pfeiffer (Stanford: Stanford University Press, 1994), 83–106.Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the Nineteenth Century. Cambridge: MIT P, 1990. Print. Barthes, R., 1972. ‘The grain of the voice.’ In: Image-Music-Text. Translated from French by S. Heath 1977. New York: Hill & Wang, pp. 179–89. Blue, 1993. [Film] Written and directed by D. Jarman. UK: Channel 4 in association with The Arts Council of Great Britain, Opal, BBC Radio 3, and Zeitgeist. Bachelard, G., 1958. The Poetics of Space. Translated from French by Maria Jolas 1964. Boston: Beacon Press.