Intersections between Showing and Concealment in the History of the Concept of Screen

This essay discusses the orientations of the screen both as work surface and as display surface by focusing on the shifts from and to the horizontal and vertical axes of the screenic space. To do so, we have collected a variety of examples, mainly media art installations but also films and mixed-media performances, which serve to reconstruct an ‘evolution of the desk’ and to retrieve a new gesturality. Balancing the producer’s and the viewer’s perspectives, we argue that it is no longer the function but the usage of a certain device that determines its position on either the vertical or the horizontal axis.

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Imaginary Screens: The Hypnotic Gesture and Early Film

Eugeni

2019

Screen Genealogies

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Ruggero Eugeni argues that film profited from an insistent reference to hypnosis. If in early depictions, hypnotists were pointing their fingers at the subject in order to hit him or her with a shot of magnetic fluid, by the early twentieth century, subjects were induced into a hypnotic state as the hypnotist’s hand waved repeatedly in front of the eyes. This new gestural format, repeatedly staged by the movies of the same period, was instrumental in mirroring and shaping in imaginary terms the film’s screening conditions and the viewer’s experience. At a moment when a nascent inema might have been defined in a number of ways, the anachronistic figure of the hypnotist’s hand worked to establish the screen rather than the film or the projector as the essential element of an emerging assemblage.

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Intersections between Showing and Concealment in the History of the Concept of Screen

Abstract: Cover design: Neon, design and communications | Sabine Mannel Lay-out: japes, Amsterdam Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press.

Cited by 3 publications

References 8 publications

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Imaginary Screens: The Hypnotic Gesture and Early Film

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