. See Mary-Ann Doane,“The Close Up: Scale and Detail in the Cinema”,Differences: a
Journal of Feminist Cultural Studies, no.(fall).
. See Serge Daney,“From Movies to Moving”(), in Tanya Leighton (ed.),Art and
the Moving Image: A Critical Reader, (London: Tate Publishing & Afterall,),-
.
. Gilles Deleuze,Cinema I: The Movement-Image, trans. Hugh Tomlinson and Barbara
Habberjam, Minneapolis: University of Minnesota Press,,.
. Roland Barthes,“The third meaning”,Image, Music, Text, trans. Stephen Heath,
(New York: Hill and Wang,).
. Gilles Deleuze,Cinema: The Movement-Image,.
. According to Bellour, the ambiguity of the freeze-frame lies in that it only appar-
ently interrupts the movement, without breaking up the movement of thedéfilement
of the images in the projector. See Raymond Bellour,“The film stilled”,Camera Ob-
scurano.,-, here:.
. Bellour,“The film stilled”,.
. Philippe Dubois,L’Effet film, figures, matières et formes du cinéma en photographie
(Lyon: Galérie le Réverbère,),-; see also Philippe Dubois,“Photography
Mise-en-Film. Autobiographical (Hi)stories and Psychic Apparatuses”inFugitive
Images,From Photography to Video, ed. Patrice Petro, (Bloomington: Indiana Univer-
sity Press,),.
. Kuntzel locates the filmic, the object of film analysis, neither on the side of motion,
nor that of standstill, butbetweenthetwo,in the creation of the“projection film”
(“film-projection”) by the filmstrip (“film-pellicule”) and in the denial of the materi-
al film in the projection film. See Thierry Kuntzel:“Le Défilement”,inCinéma: Thé-
ories, Lectures, ed. Dominique Noguez, (Paris: Klincksieck,),-.
. See Serge Daney,“Réponse à l’enquête‘Cinéma et Photographie,”Photogénies,n.
p.;“Du défilement au defile,”La recherche photographique(),–(tansl.
“From Movies to Moving”, op. cit.);“La dernière image,”inPassages de l’image, eds.
R. Bellour, C. David, C. Van Assche (Paris: Editions du Centre Pompidou,),–
; on Daney and the question ofarrêt-sur-imagesee Raymond Bellour,“L’effet Da-
ney ou l’arrêt de vie et de mort,”Trafic(spring),-.
. For Daney, this modern form of sublation coincides with the end of the narrative
cinema. He sees the“hallucinated”form both as an affixation of the spectator (as a
kind of mental state), as well as the perception of film (in a phenomenological
sense). See Daney,“Réponse à une enquête.”
. If the narrative sounds quite Freudian, the logics of the narration are more Foucaul-
dian, as the film images unfold microstructures of power relationships.
. See Serge Daney,“La dernière image”, op. cit.
. See Karlheinz Bohrer,Plötzlichkeit. Zum Augenblick des ästhetischen Scheins,(Frank-
furt am Main: Suhrkamp,),. (Eng. trans.Suddenness: On the Moment of Aes-
thetic Appearance, New York: Columbia University Press,).
. See Thomas Elsaesser,Rainer Werner Fassbinder, (Berlin: Bertz,),.(Fassbinder’s
Germany. History, Identity, Subject, Amsterdam: Amsterdam University Press,).
84 Christa Blümlinger