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Anthony Enns

The nineteenth-century science of “optography” was based on the idea that an image of the last thing seen at the moment of death would be imprinted on the retina. This idea was inspired by the invention of photography, which reinforced the mechanistic notion of the eye as a camera, and it was frequently criticized in nineteenth-century literary texts, in which eyes more often record images generated from within the mind. Belief in optography began to wane at roughly the same time that cinema became a popular form of entertainment, but it continued to appear in several films in which severed eyes function as cameras or optical implants are used to record visual impressions that can be viewed after the death of the subject. This article examines how these optographic narratives continued to reinforce the mechanistic notion of visual perception on which film technology was thought to depend.

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Steven Eastwood

A society whose values produce autism so perfectly as its excluded other does not deserve to survive; nor will it. —Alan Kirby, Digimodernism An Autistic Cinema Assemblage This article sets out a proposition for an autistic

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Guest Editor's Introduction

Phenomenology Encounters Cognitivism

Robert Sinnerbrink

Contemporary philosophical and theoretical inquiry into cinema has become increasingly interdisciplinary. With the rise of influential phenomenological and cognitivist approaches focusing on cinematic experience and aesthetic inquiry, the

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Ted Nannicelli

. One just goes to the cinema, or watches a DVD on a home theater system, or opens a digitally encoded version of a movie and watches it on a laptop or tablet. So it seems. Behind this commonsense answer, however, are a number of complexities I bring

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Shylock in the Cinema

Michael Radford’s The Merchant of Venice

Maria-Clara Versiani Galery

his problems by making a film’, writes Freedland. The medium influences the way the work is understood, for ‘film is an emotive medium, uniquely able to manipulate through lighting and music as well as words’. 3 This manipulative aspect of cinema has

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Michele Barker

skilled body such as a surfer or a skateboarder; rather, it is about coming into movement. 1 Considered, then, in relation to cinema (as Deleuze does), the camera does not shoot a movement but comes into a wider field of movement already in process

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Stepping through the Silver Screen

Austro-German Filmmaker, Bestselling Author, and Journalist Colin Ross Discovers Australia

Anne Rees

literature and journalism. By contrast, cinema-going was an almost universal pastime, and Hollywood films dominated local screens. This state of affairs led contemporary commentators such as Lindsay to assume that Australians had no choice but to base their

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Bonnie S. Kaufman

Review of Vicky Lebeau, CHILDHOOD AND CINEMA

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Todd Berliner

conceptual distinctions between my book and earlier examinations of Hollywood aesthetics, most notably David Bordwell's chapters on classical narration in two books, The Classical Hollywood Cinema ( Bordwell et al. 1985 ) and Narration in the Fiction Film

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How Motion Shapes Thought in Cinema

The Embodied Film Style of Éric Rohmer

Maarten Coëgnarts

on this solo view of authorship, as he considered the filmmaker and not the cinematographer to be the most important agent in the conception of the image. In an interview, he once expressed this view as follows: “Others might think that cinema is