Press Whitechapel,) andStillness in a Mobile World,eds. David Bissell and Gil-
lian Fuller (London: Routledge,).
. ”’L'entre-images’is an expression that I have invented to summarize all the types of
passages between photo, film, video and even digital images (just appearing at the
time).”It is untranslatable as such in English. (Raymond Bellour, e-mail to the
author, April,).
. Roland Barthes,“The Third Meaning”,Image, Music, Text, trans. Stephen Heath,
(New York: Hill and Wang,).
. Raymond Bellour,“The Film Stilled”[orig.“L’interruption, l’instant”,],Camera
Obscura/,p.,. Bellour’s pioneering work on stillness and motion in its
many disguises and disparate contexts is collected in the two volumesL’Entre-
Images-(-) and reviewed by Dana Polan inDiscourse.(Winter-
), p.-.
. Raymond Bellour,“The Film Stilled”,Camera Obscura/,p..
. Laura Mulvey,“Visual Pleasure and Narrative Cinema”[] in Braudy and Co-
hen (eds.),Film Theory and Criticism(Oxford: Oxford University Press,), p..
. Serge Daney,“La dernière image”inPassages de l’image, R. Bellour, C. David, C. Van
Assche (eds.) (Paris: Editions du Centre Pompidou,),–; on Daney and the
question ofarrêt-sur-imagesee Raymond Bellour,“L’effet Daney ou l’arrêt de vie et
de mort,”Trafic(Spring),-.
. Noël Burch’s research goes back to his work“Porter, ou l’ambivalance”,Screen-
(Winter-). Tom Gunning’s view is prominent in“An Aesthetic of Astonish-
ment: Early Film and the (In)credulous Spectator,”Art and Text(Autumn).
The New Film History research is presented more fully in Thomas Elsaesser (ed.),
Early Cinema: Space, Frame, Narrative(London: BFI,) and Wanda Strauven (ed.),
The Cinema of Attraction Reloaded(Amsterdam: Amsterdam University Press,).
. The many-faceted differences between Marey and Muybridge are discussed more
extensively in Martha Braun,Picturing Time. The Works of Etienne-Jules Marey (-
)(Chicago: The University of Chicago Press), Phillip Prodger (ed.),Time
Stands Still: Muybridge and the Instantaneous Photography Movement(New York and
Stanford: Oxford University Press,) and Mary Ann Doane,The Emergence of
Cinematic Time: Modernity, Contingency, The Archive(Cambridge, MA: Harvard Uni-
versity Press,).
. Many of the footnoted references in this introduction are examples of this.
. Linda Williams,Hardcore: Power, Pleasure, and the“Frenzy of the Visible”(Berkeley:
University of California Press,/expanded version), p..
. See Laura Marks,“Enfolding and Unfolding: An Aesthetics for the Information
Age.”Vectors Journal.Volume. Issue, Winter. Available at http://vectors.
usc.edu/projects/index.php?project=(last accessed March,).
. Jay David Bolter and Richard Grusin,Remediation: Understanding New Media(Cam-
bridge, MA: MIT Press,) and Lev Manovich,The Language of New Media(Cam-
bridge, MA: MIT Press,), p.-.
. See Hansen’s article in the current collection as well as hisNew Philosophy for New
Media(Cambridge, MA: MIT Press,) andBodies in Code: Interfaces with Digital
Media(London: Routledge,).
The Still/Moving Field: An Introduction 23