
Published online:
18 May 2017
Published in print:
01 November 2016
Online ISBN:
9781452955193
Print ISBN:
9780816690961
Contents
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Anémic Cinéma and the Precision Optics Anémic Cinéma and the Precision Optics
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Reflexivity and Cuteness Reflexivity and Cuteness
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Cavell’s Modernism Cavell’s Modernism
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Against Ontology Against Ontology
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Chapter
1 The Unfinished Business of Modernism: Anémic Cinéma
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Pages
25–50
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Published:November 2016
Cite
Richmond, Scott C., 'The Unfinished Business of Modernism: Anémic Cinéma', Cinema's Bodily Illusions: Flying, Floating, and Hallucinating (Minneapolis, MN , 2016; online edn, Minnesota Scholarship Online, 18 May 2017), https://doi.org/10.5749/minnesota/9780816690961.003.0002, accessed 22 Apr. 2025.
Abstract
The first chapter uses Marcel Duchamp’s only surviving film, Anémic Cinéma, to show how proprioceptive aesthetics is a crucial alternative to the modernist aesthetics that orients most of film and media theory, emphasizing their decisively different structures of reflexivity. Anémic Cinéma creates an illusory depth in the coupling between the cinema and its viewers’ bodies: it configures the cinema as an optical device, or a machine for the modulation of its viewers’ perception. In place of representation, it engenders voluptuous illusion. It becomes a schematic diagram for an alternative to modernism, for proprioceptive aesthetics.
Subject
Film
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