Carnal thoughts: Embodiment and moving image culture

Carnal Thoughts: Embodiment and Moving Image Culture

Volumn , Issue , 2004, Pages 1-328

  Sobchack, Vivian ^a  

^a UNIVERSITY OF CALIFORNIA   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 85203334556     PISSN: None     EISSN: None     Source Type: Book    
DOI: None     Document Type: Book

References (235)

1. Don Ihde, Technology and the Lifeworld: From Garden to Earth (Bloomington: Indiana University Press, 1990), 21.
2. Maurice Merleau-Ponty, "What Is Phenomenology?" trans. John F. Banner, Cross Currents 6 (winter 1956): 64.
3. Thomas J. Csordas, introduction to Embodiment and Experience, ed. Thomas J. Csordas (Cambridge, UK: Cambridge University Press, 1994), 4 (emphasis added).
4. Gary Brent Madison, "Did Merleau-Ponty Have a Theory of Perception?" in Merleau-Ponty and Postmodernism, ed. Thomas Busch (New York: State University of New York Press, 1992), 94.
5. Gary Brent Madison, The Phenomenology of Merleau-Ponty: A Search for the Limits of Consciousness (Athens: Ohio University Press, 1981), 25.
6. Paul Ricoeur, The Rule of Metaphor: Multi-disciplinary Studies of the Creation of Meaning in Language, trans. Robert Czerny, Kathleen McLaughlin, and John Costello (Toronto: University of Toronto Press, 1977), 321-22.
7. Rosi Braidotti, Metamorphoses: Towards a Materialist Theory of Becoming (Malden, MA: Blackwell/Polity Press, 2002), 7.
8. Catherine Gallagher and Stephen Greenblatt, Practicing New Historicism (Chicago: University of Chicago Press, 2000), 15.
9. Patrick A. Heelan, Space-Perception and the Philosophy of Science (Berkeley: University of California Press, 1983). Subsequent references will be cited in the text.
10. James Barry Jr., "The Technical Body: Incorporating Technology and Flesh," Philosophy Today (winter 1991): 399.
11. Perceptual shifts such as Heelan points to are precisely solicited by artist James Turrell's extraordinary earthwork, Roden Crater. For discussion of this work and excellent photos of the spatial phenomena see Calvin Tomkins, "Flying into the Light," New Yorker, Jan. 13, 2003, 62-71.
12. Michael Asher, Impossible Journey: Two against the Sahara (London: Viking, 1988), 164-65. (The epigraph for this section is located on 169.)
13. Dorothea Olkowski, "Merleau-Ponty's Freudianism: From the Body of Consciousness to the Body of Flesh," Review of Existential Psychology & Psychiatry 18, nos. 1-3 (1982-83): 111.
14. Sigmund Freud, The Interpretation of Dreams, trans. James Strachey (New York: Avon, 1965).
15. Freud, "The Uncanny," in Studies in Parapsychology, ed. Philip Rieff (New York: Collier, 1963), 42.
16. Iris Marion Young, "Throwing like a Girl," in Throwing like a Girl and Other Essays in Feminist Philosophy and Social Theory (Bloomington: Indiana University Press, 1990), 141-59.
17. James Atlas, "The Sandwich Generation," New Yorker, Oct. 13, 1997, 59.
18. Susan Sontag, "The Double Standard of Aging," reprinted in No Longer Young: The Older Woman in America (Ann Arbor: Institute of Gerontology, University of Michigan/Wayne State University Press, 1975), 31.
19. I've invoked these images before in an earlier companion piece on aging. See Vivian Sobchack, "Revenge of The Leech Woman: On the Dread of Aging in a Low-Budget Horror Film," in Uncontrollable Bodies: Testimonies of Identity and Culture, ed. Rodney Sappington and Tyler Stallings (Seattle: Bay Press, 1994), 79-91.
20. Jeffrey Wells, "Mirror, Mirror," Entertainment Weekly, Apr. 12, 1996, 8. Subsequent references will be cited in the text.
21. J. Max Robins, "A New Wrinkle in Video Technology," TV Guide (Los Angeles metropolitan edition), Sep. 28-Oct. 4, 1996, 57.
22. Linda Williams, "When the Woman Looks," in The Dread of Difference: Gender and the Horror Film, ed. Barry Keith Grant (Austin: University of Texas Press, 1996), 21.
23. Simone de Beauvoir, The Second Sex, trans. H. M. Parshley (New York: Bantam, 1968), 542.
24. Sigmund Freud, "The Predisposition to Obsessional Neurosis," in Collected Papers, vol. 1, ed. Ernest Jones, trans. Joan Riviere (London: Hogarth and the Institute of Psycho-Analysis, 1950), 130.
25. Kathleen Woodward, "Youthfulness as Masquerade," Discourse 11, no. 1 (fall-winter 1988-89), 133-34.
26. See http://www.skinema.com (accessed Oct. 24, 2003).
27. Jean Baudrillard, "Operational Whitewash," in The Transparency of Evil: Essays on Extreme Phenomena, trans. James Benedict (New York: Verso, 1993), 45.
28. Susan Bordo, "In an Empire of Images, the End of a Fairy Tale," Chronicle of Higher Education, Sep. 19, 1997, B8.
29. Godfrey Cheshire, "Film: Auteurist Elan," review of The Piano, dir. Jane Campion, Raleigh (North Carolina) Spectator Magazine, Nov. 18, 1993.
30. Bob Straus, "The Piano Strikes Emotional Chords," review of The Piano, Los Angeles Daily News, Nov. 19, 1993.
31. Stuart Klawans, "Films," review of The Piano, Nation, Dec. 6, 1993, 704.
32. Daniel Heman, "It's a Bumpy Ride, but This Film's Built for Speed," review of Speed, dir. Jan de Bont, Richmond Times-Dispatch, June 10, 1994.
33. Henry Sheehan, "Speed Thrills," review of Speed, Orange Country Register, June 10, 1994.
34. Joe Leydon, "Breakneck Speed," review of Speed, Houston Post, June 10, 1994.
35. David Ansen, "Popcorn Deluxe," review of Speed, Newsweek, June 13, 1994, 53.
36. Anthony Lane, "Faster, Faster," review of Speed, New Yorker, June 13, 1994, 103.
37. Stephen Hunter, "As Cosmic Battles Go, Kombat Is Merely Mortal," review of Mortal Kombat, dir. Paul Anderson, Baltimore Sun, Aug. 19, 1995.
38. Janet Weeks, "Is Faux Violence Less Violent?" review of Mortal Kombat, Los Angeles Daily News, Aug. 19, 1995.
39. Stephanie Griest, "Mortal Kombat's Bloodless Coup," review of Mortal Kombat, Washington Post, Aug. 28, 1995.
40. Owen Gleiberman, "Plastic Fantastic," review of Toy Story, dir. John Lasseter, Entertainment Weekly, Nov. 14, 1995, 74.
41. Peter Wollen, Signs and Meaning in the Cinema (Bloomington: Indiana University Press, 1969), 57, 59.
42. Gilles Deleuze, Cinema 2: The Time-Image, trans. Hugh Tomlinson and Robert Galeta (Minneapolis: University of Minnesota Press, 1989), 159.
43. Lesley Stern, "I Think, Sebastian, Therefore . . . I Somersault: Film and the Uncanny," Para*doxa 3, nos. 3-4 (1997): 361.
44. See Linda Williams, "Film Bodies: Gender, Genre, and Excess," Film Quarterly 44, no. 4 (summer 1991): 2-13
45. Jonathan Crary, Techniques of the Observer (Cambridge, MA: MIT Press, 1992).
46. Steven Shaviro, The Cinematic Body (Minneapolis: University of Minnesota Press, 1993).
47. Laura U. Marks, The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses (Durham, NC: Duke University Press, 1999)
48. Tom Gunning, "The Cinema of Attractions: Early Film, Its Spectator, and the Avant-Garde," in Early Cinema: Space, Frame, Narrative, ed. Thomas Elsaesser with Adam Barker (London: BFI, 1990), 56-62.
49. Richard Dyer, "Action!" Sight and Sound 4, no. 10 (Oct. 1994): 7-10.
50. Paul Ricoeur, The Rule of Metaphor: Multi-disciplinary Studies of the Creation of Meaning in Language, trans. Robert Czerny, Kathleen McLaughlin, and John Costello (Toronto: University of Toronto Press, 1977)
51. Roland Barthes, "The Third Meaning," in Image-Music-Text, trans. Stephen Heath (New York: Hill and Wang, 1977), 52-68.
52. Carol Jacobs, "Playing Jane Campion's Piano: Politically," Modern Language Notes 109, no. 5 (Dec. 1994): 769-70.
53. Iris Marion Young, "Pregnant Embodiment: Subjectivity and Alienation," in Throwing like a Girl and Other Essays in Feminist Philosophy and Social Theory (Bloomington: Indiana University Press, 1990), 161.
54. Elizabeth Grosz, "Merleau-Ponty and Irigaray in the Flesh," in "Sense and Sensuousness: Merleau-Ponty," special issue, Thesis Eleven 36 (1993): 46.
55. Michael Moriarty, Roland Barthes (Stanford, CA: Stanford University Press, 1991), 190.
56. Richard E. Cytowic, M.D., The Man Who Tasted Shapes: A Bizarre Medical Mystery Offers Revolutionary Insights into Emotions, Reasoning, and Consciousness (New York: Warner, 1993), 52.
57. John E. Harrison and Simon Baron-Cohen, eds., Synaesthesia: Classic and Contemporary Readings (Cambridge: Blackwell, 1996)
58. Kevin T. Dann, Bright Colors Falsely Seen: Synaesthesia and the Search for Transcendental Knowledge (New Haven, CT: Yale University Press, 1998).
59. Diane Ackerman, A Natural History of the Senses (New York: Vintage, 1990), 291.
60. George Lakoff and Mark Johnson, Metaphors We Live By (Chicago: University of Chicago Press, 1980).
61. Elaine Scarry, On Beauty and Being Just (Princeton, NJ: Princeton University Press, 1999), 4.
62. Lisa Schwarzbaum, "Four-Star Feast," review of Big Night, dir. Campbell Scott and Stanley Tucci, Entertainment Weekly, Sep. 20, 1996, 49-50.
63. Lila Guterman, "Do You Smell What I Hear? Neuroscientists Discover Crosstalk among the Senses," Chronicle of Higher Education, Dec. 14, 2001, A17.
64. Leonard Maltin, review of Eat Drink ManWoman, dir. Ang Lee, Cinemania 96, CD-ROM (Microsoft, 1992-95).
65. See Umberto Eco, A Theory of Semiotics (Bloomington: Indiana University Press, 1976), 52-54.
66. Alphonso Lingis, "Bodies That Touch Us," in "Sense and Sensuousness: Merleau-Ponty," special issue, Thesis Eleven 36 (1993): 162.
67. Michael Taussig, Mimesis and Alterity: A Particular History of the Senses (New York: Routledge, 1992).
68. Maurice Merleau-Ponty, "The Philosopher and His Shadow," in Signs, trans. Richard C. McCleary (Evanston, IL: Northwestern University Press, 1964), 166.
69. See also sociologist Jack Katz, How Emotions Work (Chicago: University of Chicago Press, 1999).
70. Hubert G. Alexander, The Language and Logic of Philosophy (Albuquerque: University of New Mexico Press, 1967), 92.
71. Richard Shiff, "Cézanne's Physicality: The Politics of Touch," in The Language of Art History, ed. Salim Kemal and Ivan Gaskell (Cambridge, UK: Cambridge University Press, 1991), 150
72. J. David Sapir, "The Anatomy of Metaphor," in The Social Use of Metaphor: Essays on the Anthropology of Rhetoric, ed. J. David Sapir and J. Christopher Crocker (Philadelphia: University of Pennsylvania Press, 1977)
73. Gaston Bachelard, The Poetics of Space, trans. Maria Jolas (Boston: Beacon, 1958), 184.
74. Claude Lévi-Strauss, The Savage Mind, trans. George Weidenfeld (Chicago: University of Chicago Press, 1966), 243
75. Jennifer M. Bean, "Technologies of Early Stardom and the Extraordinary Body," Camera Obscura 48, vol. 16, no. 3 (2001): 46
76. Alphonso F. Lingis, "Sense and Non-Sense in the Sexed Body," Cultural Hermeneutics 4 (1977): 348.
77. James Winchell, "Metaphysics of Post-Nationalism: La Double Vie de Krzysztof Kieslowski," Contemporary French Civilization 22, no. 2 (summer-fall 1998): 248
78. Peter Schjeldahl, "Folks," New Yorker, Jan. 14, 2002, 88
79. Jacques Lacan, The Four Fundamental Concepts of Psycho-Analysis, ed. Jacques-Alain Miller, trans. Alan Sheridan (New York: Norton, 1978), 97-100.
80. Norman Bryson, "The Gaze in the Expanded Field," in Vision and Visuality, ed. Hal Foster (Seattle, WA: Bay Press, 1988), 91.
81. Ruth Perlmutter, "Testament of the Father: Kieslowski's The Decalogue," Film Criticism 22, no. 2 (winter 1997): 58.
82. Jean Paul Sartre, L'idiot de la famille: Gustave Flaubert de 1821 à 1857, vol. 2 (Paris: Gallimard, 1971), 1439.
83. Amelia Jones, Body Art / Performing the Subject (Minneapolis: University of Minnesota Press, 1998), 206-7.
84. Maurice Merleau-Ponty, "The Chiasm-The Intertwining," in The Visible and the Invisible, trans. Alphonso Lingis, ed. Claude Lefort (Evanston, IL: Northwestern University Press, 1964), 134-35.
85. Phil Cavendish, "Kieslowski's Decalogue," Sight and Sound 50, no.3 (summer 1990): 164.
86. Marc Vernet, "The Look at the Camera," Cinema Journal 18, no. 2 (winter 1989): 52.
87. Joseph Cunneen, "Kieslowski on the Mountaintop," Commonweal, Aug. 15, 1997, 12.
88. Daniel Chandler, "The Phenomenology of Writing by Hand," Intelligent Tutoring Media 3, nos. 2/3 (May/Aug. 1992).
89. Walter Benjamin, "One-Way Street," trans. Edmund Jephcott, in Walter Benjamin: Selected Writings, Volume 1, 1913-1926, ed. Marcus Bullock and Michael W. Jennings (Cambridge, MA: Harvard University Press, 1996), 458.
90. Lisa Jensen, "Confessions of a Computer Phobe," Santa Cruz (California) Good Times, Dec. 13, 1990.
91. Gaston Bachelard, The Poetics of Space, trans. Maria Jolas (New York: Beacon, 1969), 106.
92. Michael Heim, Electric Language: A Philosophical Study of Word Processing (New Haven, CT: Yale University Press, 1987), 152.
93. Don Ihde, Technology and the Lifeworld: From Garden to Earth (Bloomington: Indiana University Press, 1990), 141.
94. Elaine Scarry, "The Merging of Bodies and Artifacts in the Social Contract," in Culture on the Brink: Ideologies of Technology, ed. Gretchen Bender and Timothy Druckrey (Seattle: Bay Press, 1994), 97.
95. Tamara Plakins Thompson, "Handwriting as an Act of Self-Definition," Chronicle of Higher Education, Aug. 15, 1997, B7.
96. O. B. Hardison Jr., Disappearing through the Skylight: Culture and Technology in the Twentieth Century (New York: Penguin, 1989), 259.
97. Mary Ann Doane, in "Technology's Body," in Feminist Anthology in Early Cinema, ed. Jennifer M. Bean and Diane Negra (Durham, NC: Duke University Press, 2002).
98. See Annette Michelson, "On the Eve of the Future: The Reasonable Facsimile and the Philosophical Toy," in October: The First Decade, 1976-1986, ed. Annette Michelson, Rosalind Krauss, Douglas Crimp, and Joan Copjec (Cambridge, MA: MIT Press, 1987), 432.
99. See Jonathan Goldberg, Writing Matter: From the Hands of the English Renaissance (Stanford, CA: Stanford University Press, 1990).
100. Monique Wittig, The Opoponax, trans. Helen Weaver (Plainfield, VT: Daughters, 1966).
101. see Roxanne Panchasi, "Graphology and the Science of Individual Identity in Modern France," Configurations 4, no. 1 (1996): 1-31.
102. See Samuel Weber, "Mass Mediauras, or: Art, Aura and Media in the Work of Walter Benjamin," in Mass Mediauras: Form, Technics, Media, ed. Alan Cholodenko (Stanford,CA: Stanford University Press, 1996), 104-5.
103. Jasia Reichardt, Robots: Fact, Fiction, and Prediction (London: Penguin, 1978), 14. For illustrations of writing automata see 13-15.
104. Susan Buck-Morss, The Dialectics of Seeing: Walter Benjamin and the Arcades Project (Cambridge, MA: MIT Press, 1991), 363.
105. Jean-François Lyotard, "Can Thought Go On without a Body?" trans. Bruce Boone and Lee Hildreth, in Materialities of Communication, ed. Hans Ulrich Gumbrecht and K. Ludwig Pfeifforfer, trans. William Whobrey (Stanford, CA: Stanford University Press, 1994), 291
106. Thomas Mallon, "Minding Your 'P's' and 'Q's,'" review of Handwriting in America: A Cultural History, by Tamara Plakins Thornton, New Yorker, Feb. 3, 1997, 79.
107. Martin Heidegger, "The Question Concerning Technology," trans. William Lovitt, in Martin Heidegger: Basic Writings, ed. David Farrell Krell (New York: Harper and Row, 1977), 294.
108. Elaine Scarry, "The Merging of Bodies and Artifacts in the Social Contract," in Culture on the Brink: Ideologies of Technology, ed. Gretchen Bender and Timothy Druckrey (Seattle: Bay Press, 1994), 97.
109. Martin Heidegger, "The Question Concerning Technology," trans. William Lovitt, in Martin Heidegger: Basic Writings, ed. David Farrell Krell (New York: Harper and Row, 1977), 317.
110. Elena del Río, "The Body as Foundation of the Screen: Allegories of Technology in Atom Egoyan's Speaking Parts," Camera Obscura 37-38 (summer 1996): 97.
111. Fredric Jameson, "Postmodernism, or, The Cultural Logic of Late Capitalism," New Left Review 146 ( July-Aug. 1984): 77.
112. Stephen Kern, The Culture of Time and Space: 1880-1918 (Cambridge, MA: Harvard University Press, 1983), 6-7.
113. Susan Sontag, On Photography (New York: Delta, 1973)
114. Roland Barthes, Camera Lucida: Reflections on Photography, trans. Richard Howard (New York: Hill and Wang, 1981).
115. Jean-Louis Comolli, "Machines of the Visible," in The Cinematic Apparatus, ed. Teresa de Lauretis and Stephen Heath (New York: St. Martin's, 1980), 122-23.
116. Jonathan Crary, Techniques of the Observer: On Vision and Modernity in the Nineteenth Century (Cambridge, MA: MIT Press, 1990), 13.
117. Maurice Merleau-Ponty, "Eye and Mind," trans. Carleton Dallery, in The Primacy of Perception, ed. James Edie (Evanston, IL: Northwestern University Press, 1964), 166.
118. André Bazin, "Ontology of the Photographic Image," 9-10.
119. Arthur M. Danto, "Moving Pictures," Quarterly Review of Film Studies 4 (winter 1979): 17.
120. Maurice Merleau-Ponty, The Visible and the Invisible, trans. Alphonso Lingis (Evanston, IL: Northwestern University Press, 1968), 143-44.
121. Brooks Landon, "Cyberpunk: Future So Bright They Gotta Wear Shades," Cinefantastique 18, no. 1 (Dec. 1987): 27.
122. Guy Debord, Society of the Spectacle (Detroit: Black and Red, 1983), n.p.
123. Michael Heim, Electric Language: A Philosophical Study of Word Processing (New Haven, CT: Yale University Press, 1987)
124. Vivian Sobchack, "Baudrillard's Obscenity, " Science-Fiction Studies 18 (Nov. 1991): 327-29.
125. J. G. Ballard, Crash (New York, Vintage, 1985). The epigraph to this essay can be found on p. 1.
126. Fredric Jameson, Postmodernism, or, The Cultural Logic of Late Capitalism (Durham, NC: Duke University Press, 1991), 186.
127. Fredric Jameson, The Political Unconscious: Narrative as a Socially Symbolic Act (Ithaca, NY: Cornell University Press, 1981), 102.
128. Donna Haraway, "A Manifesto for Cyborgs: Science, Technology, and Socialist Feminism in the 1980s," Socialist Review 80 (1985): 65-107.
129. see Elaine Scarry, "The Merging of Bodies and Artifacts in the Social Contract," in Culture on the Brink: Ideologies of Technology, ed. Gretchen Bender and Timothy Druckrey (Seattle: Bay Press, 1994), 85-87.
130. John Perry Barlow, "Being in Nothingness: Virtual Reality and the Pioneers of Cyberspace," Mondo 2000 2 (1990): 42.
131. Donna Haraway, quoted in Constance Penley and Andrew Ross, "Cyborgs at Large: Interview with Donna Haraway," Social Text 25/26 (1991): 397.
132. James Barry Jr., "The Technical Body: Incorporating Technology and Flesh," Philosophy Today (winter 1991): 397.
133. Don Ihde, Technology and the Lifeworld: From Garden to Earth (Bloomington: Indiana University Press, 1990), 75.
134. see Vivian Sobchack, ed., Meta-Morphing: Visual Transformation and the Culture of Quick Change (Minneapolis: University of Minnesota Press, 2000).
135. See Hans P. Moravec, Mind Children: The Future of Robot and Human Intelligence (Cambridge, MA: Harvard University Press, 1988).
136. Elaine Scarry, The Body in Pain: The Making and Unmaking of the World (New York: Oxford University Press, 1985), 285-86.
137. Lou Jacobson, "A Mind Is a Terrible Thing to Waste," Lingua Franca 7 (Aug. 1997): 6.
138. Jean Baudrillard, "Transsexuality," in The Transparency of Evil: Essays on Extreme Phenomena, trans. James Benedict (London: Verso, 1993), 23.
139. Martin Heidegger, "The Age of the World Picture," in The Question Concerning Technology and Other Essays, trans. William Lovitt (New York: Harper and Row, 1977), 115-54.
140. Guy Debord, Society of the Spectacle (Detroit: Black and Red, 1983).
141. Jean-Luc Comolli, "Machines of the Visible," in The Cinematic Apparatus, ed. Teresa de Lauretis and Stephen Heath (New York: St. Martin's, 1980), 122.
142. see Peter Berger and Stanley Pullberg, "Reification and the Sociological Critique of Consciousness," History and Theory 4 (1965): 196-211.
143. Martin Heidegger, "What Are Poets For?" in Poetry, Language, Thought, trans. Albert Hofstadter (New York: Harper and Row, 1971), 110.
144. Marquard Smith, "The Uncertainty of Placing: Prosthetic Bodies in Sculptural Design, and Unhomely Dwelling in Marc Quinn, James Gillingham, and Sigmund Freud," New Formations 46 (spring 2002): 101.
145. Jack Katz, How Emotions Work (Chicago: University of Chicago Press, 1999), 334.
146. Owen Glieberman, "Demi Seminude Ain't Enough," Entertainment Weekly, July 12, 1996, 38, 40.
147. Donna Haraway, "A Manifesto for Cyborgs: Science, Technology, and Socialist Feminism in the 1980s," Socialist Review 80 (1985): 65-107.
148. Kim A. McDonald, "A '90s-Style Disorder: 'Muscle Dysmorphia,'" Chronicle of Higher Education, Nov. 18, 1997, A17.
149. Gary Brent Madison, "Did Merleau-Ponty Have a Theory of Perception?" in Merleau-Ponty and Postmodernism, ed. Thomas Busch (New York: State University of New York Press, 1992), 92-94.
150. Maurice Merleau-Ponty, "Eye and Mind," trans. Carleton Dallery, in The Primacy of Perception, ed. James M. Edie (Evanston, IL: Northwestern University Press, 1964), 166.
151. Maurice Merleau-Ponty, Phenomenology of Perception, trans. Colin Smith (London: Routledge and Kegan Paul, 1962), 235.
152. Maurice Merleau-Ponty, The Prose of the World, ed. Claude Lefort, trans. John O'Neill (Evanston, IL: Northwestern University Press, 1973), 77.
153. Audre Lorde, "Eye to Eye: Black Women, Hatred, and Anger," in Sister Outsider (Freedom, CA: Crossing Press, 1984), 147
154. Charles Johnson, "A Phenomenology of the Black Body," in The Male Body: Features, Destinies, Exposures, ed. Laurence Goldstein (Ann Arbor: University of Michigan Press, 1994), 126.
155. Kristal Brent Zook, "Multiple Images from Million Man March," UCLA Today, Oct. 27, 1995, 7.
156. Alphonso Lingis, "Bodies That Touch Us," in "Sense and Sensuousness: Merleau-Ponty," special issue, Thesis Eleven 36 (1993): 166.
157. Elena del Río, "The Body as the Foundation of the Screen: Allegories of Technology in Atom Egoyan's Speaking Parts," Camera Obscura, nos. 37/38 (summer 1996): 102.
158. Roland Barthes, "The Jet-man," in Mythologies, trans. Annette Lavers (New York: Hill and Wang, 1957), 72-73.
159. Paul Ricoeur, The Rule of Metaphor: Multi-disciplinary Studies of the Creation of Meaning in Language, trans. Robert Czerny, Kathleen McLaughlin, and John Costello (Toronto: University of Toronto Press, 1977), 309.
160. Helen Deutsch and Felicity Nussbaum, introduction to Defects: Engineering the Modern Body, ed. Helen Deutsch and Felicity Nussbaum (Ann Arbor: University of Michigan Press, 2000), 1-2.
161. Sarah S. Jain, "The Prosthetic Imagination: Enabling and Disabling the Prosthetic Trope," Science, Technology, & Human Values 24, no. 1 (winter 1999): 32.
162. Robert Rawdon Wilson, "Cyber(body)parts: Prosthetic Consciousness," Body & Society 1, nos. 3-4 (1995): 242.
163. Alison Landsberg, "Prosthetic Memory: Total Recall and Blade Runner," Body & Society 1, nos. 3-4 (1995): 175-89.
164. Joanne Morra and Marquard Smith, eds. "The Prosthetic Aesthetic," introduction to "The Prosthetic Aesthetic," special issue, New Formations 46 (spring 2002): 5.
165. Jennifer A. Gonzalez, "Autotopographies," in Prosthetic Territories: Politics and Hypertechnologies, ed. Gabriel Brahm Jr. and Mark Driscoll (Boulder, CO: Westview Press, 1995), 134.
166. Chris Hablas and Steven Mentor, "The Cyborg Body Politic and the New World Order," in Prosthetic Territories: Politics and Hypertechnologies, ed. Gabriel Brahm Jr. and Mark Driscoll (Boulder, CO: Westview Press, 1995), 244-45.
167. Diane M. Nelson, "Stumped Identities: Body Image, Bodies Politic, and the Mujer Maya as Prosthetic," Cultural Anthropology 16, no. 3 (Aug. 2001): 314-53
168. Melissa W. Wright, "Desire and the Prosthetics of Supervision: A Case of Maquiladora Flexibility," Cultural Anthropology 16, no. 3 (Aug. 2001): 354-73.
169. Diane M. Nelson, "Phantom Limbs and Invisible Hands: Bodies, Prosthetics, and Late Capitalist Identifications," Cultural Anthropology 16, no. 3 (Aug. 2001): 303-13.
170. see George Packer, "The Children of Freetown," New Yorker, Jan. 13, 2003, 50-61.
171. Steven L. Kurzman, "Presence and Prosthesis: A Response to Nelson and Wright," Cultural Anthropology 16, no. 3 (Aug. 2001): 374-87.
172. Donna Haraway, "Manifesto for Cyborgs: Science, Technology, and Socialist Feminism in the 1980s," Socialist Review 80 (1985): 65-107.
173. Drew Leder, The Absent Body (Chicago: University of Chicago Press, 1990).
174. See Sigmund Freud, "The Uncanny," in The Pelican Freud Library, Volume 14: Art and Literature, trans. James Strachey (Harmondsworth: Penguin, 1985), 366.
175. Rebecca Mead, "Opening Night: An Art-House Epic," New Yorker, May 13, 2002, 35.
176. Ian Austen, "A Leg with a Mind of Its Own," New York Times, Jan. 3, 2002, D1.
177. Richard A. Sherman, appendix to Phantom Pain (New York: Plenum, 1996), 231.
178. Amy Goldwasser, "Wonder Woman," I. D.: International Design Magazine, May 1998, 48.
179. Nancy Spector, "Aimee Mullins," in Matthew Barney: The Cremaster Cycle (New York: Guggenheim Museum, 2003), n.p.
180. Harold Bloom, A Map of Misreading (Oxford: Oxford University Press, 1975), 74.
181. Amos Vogel, "Grim Death," Film Comment 16, no. 2 (Mar.-Apr. 1980): 78.
182. Richard L. Lanigan, Speaking and Semiology: Maurice Merleau-Ponty's Phenomenological Theory of Existential Communication (The Hague: Mouton, 1972)
183. Richard L. Lanigan, "Semiotic Phenomenology: A Theory of Human Communication Praxis," Journal of Applied Communication Research 10 (1982): 62-73.
184. Philippe Ariès, Western Attitudes toward Death: From the Middle Ages to the Present, trans. Patricia M. Ranum (Baltimore, MD: Johns Hopkins University Press, 1974).
185. Geoffrey Gorer, "The Pornography of Death," Death: Current Perspectives, ed. Edwin S. Shneidman (Palo Alto, CA: Mayfield, 1976), 75.
186. Lawrence L. Langer, The Age of Atrocity: Death in Modern Literature (Boston: Beacon, 1978), xii-xiii.
187. John Lantos, "How to Live as We Are Dying," Chronicle of Higher Education, Sep. 8, 2000, B18.
188. T. S. Eliot, "Burnt Norton," in Four Quartets (New York: Harvest Books/Harcourt Brace, 1943), 15.
189. William F. May, "The Sacral Power of Death," in Death in American Experience, ed. Arien Mack (New York: Schocken, 1973), 116.
190. John Fraser, Violence in the Arts (London: Cambridge University Press, 1974), 59.
191. David Dempsey, "The Dying Speak for Themselves on a TV Special," New York Times, Apr. 25, 1976, sec. 2, p. 29.
192. Ernest Becker, The Denial of Death (New York: Free Press, 1973), 104.
193. Simone de Beauvoir, A Very Easy Death, trans. Patrick O'Brien (New York: Warner, 1973), 123.
194. Martin Heidegger, Being and Time, trans. John Macquarrie and Edward Robinson (San Francisco: Harper, 1962), 302.
195. Robert Jay Lifton and Eric Olson, Living and Dying (New York: Praeger, 1974), 28.
196. see Linda Williams, "Mirror without Memories: Truth, History, and the New Documentary," in Film Quarterly: Forty Years-A Selection, ed. Brian Henderson and Ann Martin (Berkeley: University of California Press, 1999), 308-28.
197. Larry Crawford, "Looking, Film, Painting: The Trickster's In Site/In Sight/Insight/Incite," Wide Angle 5, no. 3 (1983): 64-69.
198. Roger Poole, Towards Deep Subjectivity (London: Penguin, 1972).
199. Béla Balázs, Theory of the Film: Character and Growth of a New Art, trans. Edith Bone (New York: Dover, 1970), 170-71.
200. Howard Polskin, "Save a Life or Get the Story?" TV Guide, July 23, 1983, 4.
201. W. H. Auden quoted in William Stott, Documentary Expression in Thirties America (New York: Oxford University Press, 1973), 13.
202. André Bazin, "The Ontology of the Photographic Image," in What Is Cinema? trans. Hugh Gray, vol. 1 (Berkeley: University of California Press, 1967), 9-22
203. Jane Roscoe and Craig Hight, "Mocking Silver: Re-inventing the documentary project (or, Grierson Lies Bleeding)," in Continuum: The Australian Journal of Media & Culture 11, no. 1 (1997): 67-82.
204. Roger Odin, "For a Semio-Pragmatics of Film," trans. Claudine Tournaire, in The Film Spectator: From Sign to Mind, ed. Warren Buckland (Amsterdam: Amsterdam University Press, 1995), 213-26.
205. Linda Williams, "Mirrors without Memories: Truth, History, and the New Documentary," in Film Quarterly: Forty Years-A Selection, ed. Brian Henderson and Ann Martin (Berkeley: University of California Press, 1999), 311.
206. Brian Henderson and Ann Martin (Berkeley: University of California Press, 1999), 392-411.
207. Benjamin Svetkey, "Making Contact," Entertainment Weekly, July 18, 1997, 24-27.
208. Arild Fetveit, "Mockumentary: Charting the Topography between Fiction and Documentary" (paper presented at the annual meeting of the Society for Cinema Studies, West Palm Beach, FL, Apr. 1999).
209. Renée Epstein, "An Interview with Haskell Wexler," Sight and Sound 45, no. 1 (winter 1975-76): 47.
210. Michael Sauter, "A Nuclear Reaction," Entertainment Weekly, Mar. 20, 1998, 104.
211. Hubert G. Alexander, The Language and Logic of Philosophy (Albuquerque: University of New Mexico Press, 1972), 230-56.
212. Miriam Hansen, "Benjamin, Cinema, and Experience: 'The Blue Flower in the Land of Technology,'" New German Critique 40 (winter 1987): 179-224.
213. Maurice Merleau-Ponty, The Visible and the Invisible, trans. Alphonso Lingis (Evanston, IL: Northwestern University Press, 1968), 138.
214. Jean-Paul Sartre, Nausea, trans. Lloyd Alexander (New York: New Directions, 1964).
215. Elena del Río, "The Body as Foundation of the Screen: Allegories of Technology in Atom Egoyan's Speaking Parts," Camera Obscura, nos. 37/38 (summer 1996): 103-4.
216. Elaine Scarry, The Body in Pain: The Making and Unmaking of the World (New York: Oxford University Press, 1985), 27-59.
217. Walter Benjamin, "On the Mimetic Faculty," in Reflections: Essays, Aphorisms, Autobiographical Writings, trans. Edmund Jephcott (New York: Schocken, 1978), 333-36.
218. Jennifer M. Bean, "Technologies of Early Stardom and the Extraordinary Body," Camera Obscura 48, vol. 16, no. 2 (2001): 45.
219. Alphonso F. Lingis, "Sense and Non-Sense in the Sexed Body," Cultural Hermeneutics 4 (1977): 351.
220. Lawrence Weschler, "The Furniture Philosopher," New Yorker, Nov. 8, 1999, 66-79.
221. Bruno Schulz, The Street of Crocodiles, trans. Celina Wieniewska (New York: Penguin, 1977), 69.
222. James Barry Jr., "The Technical Body: Incorporating Technology and Flesh," Philosophy Today (winter 1991): 390, 392.
223. Angela Dalle Vacche, Cinema and Painting: How Art Is Used in Film (Austin: University of Texas Press, 1996).
224. André Bazin, "Le Journal d'un Curé de Campagne and the Stylistics of Robert Bresson," in What Is Cinema? trans. Hugh Gray, vol. 1 (Berkeley: University of California Press, 1967), 125-43.
225. Paul Schrader, Transcendental Style in Film: Ozu, Bresson, Dreyer (Berkeley: University of California Press, 1972).
226. Ed Leibowitz, "An Oscar for Best Supporting Polymer," Los Angeles Times Magazine, Nov. 14, 1999, 14.
227. Mikel Dufrenne, The Phenomenology of Aesthetic Experience, trans. Edward S. Casey et al. (Evanston, IL: Northwestern University Press, 1973), 529-31.
228. Jean Baudrillard, "The Object as Strange Attractor," in The Transparency of Evil: Essays on Extreme Phenomena, trans. James Benedict (London: Verso, 1993), 172.
229. Elizabeth Grosz, "Merleau-Ponty and Irigaray in the Flesh," Thesis Eleven 36 (1993): 45.
230. Gilles Deleuze, Foucault, ed. and trans. Seán Hand (Minneapolis: University of Minnesota Press, 1986), 108-13.
231. Remy C. Kwant, From Phenomenology to Metaphysics: An Inquiry into the Last Period of Merleau-Ponty's Philosophical Life (Pittsburgh, PA: Duquesne University Press, 1966), 58.
232. David Michael Levin, "Visions of Narcissism," in Merleau-Ponty Vivant, ed. M. C. Dillon (Albany: State University of New York Press, 1991), 67.
233. Jorge Luis Borges, "Things," trans. Stephen Kessler, New Yorker, Mar. 22, 1999, 66.
234. William Pietz, "The Problem of the Fetish I," Res 9 (spring 1985): 14.
235. M. M. Bakhtin, "Toward a Methodology for the Human Sciences," in his Speech Phenomena and Other Late Essays, trans. Vern W. McGee (Austin: University of Texas Press, 1986), 168.