Part of the The Palgrave Gothic Series book series (PAGO)
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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
KeywordsEarly Medium Lantern Slide Magic Lantern Adult Comic German Cinema
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- 1.Quoted in Didier Eribon, Michel Foucault (London: Faber and Faber, 1992), p. 163.Google Scholar
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© David J. Jones 2014