Camera Obscura, Camera Lucida : Essays in Honor of Annette Michelson

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All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. ContentsAcknowledgements 7Preface 9 Rosalind KraussIntroduction 13 Malcolm Turvey The Logic of an Illusion 35Notes on the Genealogy of Intellectual Cinema Mikhail Iampolski Narcissistic Machines and Erotic Prostheses 51Allen S. Weiss Loïe Fuller and the Art of Motion 75Body, Light, Electricity and the Origins of Cinema Tom Gunning Visitings of Awful Promise 91The Cinema Seen from Etna Stuart Liebman Transfiguring the Urban Gray 109László Moholy-Nagy's Film Scenario 'Dynamic of the Metropolis' Edward Dimendberg Eisenstein's Philosophy of Film 127Noël Carroll Knight's Moves 147Peter Wollen Hitchcock and Narrative Suspense 163Theory and Practice Richard Allen From the Air 183A Genealogy of Antonioni's Modernism Noa Steimatsky Dr. Strangelove 215or: the Apparatus of Nuclear Warfare William G. Simon Collection and Recollection 231On Film Itineraries and Museum Walks Guiliana Bruno Afterward: A Matter of Time 261Analog Versus Digital, the Perennial Question of Shifting Technology and Its Implications for an Experimental Filmmaker's Odyssey Babette Mangolte Select Bibliography 275 List of Contributors 283Index 286 6 Camera Obscura, Camera Lucida AcknowledgementsA number of individuals have made this book possible. The editors are profoundly grateful to Dean Mary Schmidt Campbell and The Tisch School of the Arts, New York University, for providing a grant to underwrite publication of this volume. Chris Straayer, Chair of the Cinema Studies Department at New York University also gave unwavering support to our endeavor. Thomas Elsaesser rescued the volume by his willingness to give space to a festschrift in his series at Amsterdam University Press. Without his commitment, it would not have been published. Finally we wish to thank Suzanne Bogman and Jaap Wagenaar for shepherding the book through publication, and Lucas Hilderbrand for his editorial assistance in the preparation of the manuscript. Preface Rosalind KraussAnnette Michelson returned to New York from France in the mid-1960s with an intimate knowledge of French language and culture. This meant, among other things, that a whole world of intellectual speculation was open to her that remained closed to less linguistically gifted American colleagues. In the late '60s, the translation business had not yet geared up to process the work of Barthes, Saussure, Lévi-Strauss, and Derrida into English; and so the Structuralist reconception of language -in all its subtlety and elegance -had not yet impacted the world of aesthetic discourse. In 1970, in Art and the Structuralist Perspective, her lecture at the Guggenheim Museum, Michelson spoke of the elegance and reduction of Structuralist diagrams in an effort to fuse...