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Conclusion

  • David J. Jones
Chapter
  • 234 Downloads
Part of the The Palgrave Gothic Series book series (PAGO)

Abstract

These are the words with which Jean-Paul Sartre disparagingly characterises the writing of Michel Foucault as retroactively static productions, simultaneously placing a model of the cinema/lantern dichotomy, as he saw it, at the centre of contemporary historiography. It is a highly selective statement with regard to lantern technology and, built as it is on Sartre’s preference of cinema to the lantern shows he witnessed as a child, he dispenses it with an air of dismissal or farewell. It is a characteristic reflex and one which has proved influential in considering media histories as a whole.

He distinguishes between periods, a before and an after. But he replaces cinema with the magic lantern, motion with a succession of motionless moments.1

Keywords

Early Medium Lantern Slide Magic Lantern Adult Comic German Cinema 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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Notes

  1. 1.
    Quoted in Didier Eribon, Michel Foucault (London: Faber and Faber, 1992), p. 163.Google Scholar
  2. 4.
    Richard Abel, The Ciné Goes to Town: French Cinema 1896–1914 (Berkeley, Los Angeles and London: University of California Press, 1994), p. 103.Google Scholar
  3. 6.
    Stephen Crane, The Best Short Stories of Stephen Crane (Stilwell: Digireads.com, 2008), pp. 81–92, p. 86.Google Scholar
  4. 7.
    Bill Brown, The Material Unconscious: American Amusement, Stephen Crane and the Economics of Play (Cambridge, MA: Harvard University Press, 1997), p. 166.Google Scholar
  5. 12.
    Robert J. Andreach, Len Jenkin’s Theatre: Wonder and Heart (Lanham, MD: University Press of America, 2011), p. 128.Google Scholar
  6. 17.
    Press release for Jay David Bolter and Richard Grusin, Remediation: Understanding New Media (Cambridge, MA: MIT Press, 2000), http://mitpress.mit.edu/books/remediation, accessed 3 May 2013.Google Scholar
  7. 18.
    Rainer Rother and Werner Sudendorf, Foreword, in Hans Helmut Prinzler, Sirens and Sinners: A Visual History of Weimar Film 1918–1933 (London: Thames & Hudson, 2013), p. 13.Google Scholar

Copyright information

© David J. Jones 2014

Authors and Affiliations

  • David J. Jones
    • 1
  1. 1.Open UniversityUK

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