Abstract
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
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Notes
Quoted in Didier Eribon, Michel Foucault (London: Faber and Faber, 1992), p. 163.
Richard Abel, The Ciné Goes to Town: French Cinema 1896–1914 (Berkeley, Los Angeles and London: University of California Press, 1994), p. 103.
Stephen Crane, The Best Short Stories of Stephen Crane (Stilwell: Digireads.com, 2008), pp. 81–92, p. 86.
Bill Brown, The Material Unconscious: American Amusement, Stephen Crane and the Economics of Play (Cambridge, MA: Harvard University Press, 1997), p. 166.
Robert J. Andreach, Len Jenkin’s Theatre: Wonder and Heart (Lanham, MD: University Press of America, 2011), p. 128.
Press release for Jay David Bolter and Richard Grusin, Remediation: Understanding New Media (Cambridge, MA: MIT Press, 2000), http://mitpress.mit.edu/books/remediation, accessed 3 May 2013.
Rainer Rother and Werner Sudendorf, Foreword, in Hans Helmut Prinzler, Sirens and Sinners: A Visual History of Weimar Film 1918–1933 (London: Thames & Hudson, 2013), p. 13.
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© 2014 David J. Jones
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Jones, D.J. (2014). Conclusion. In: Sexuality and the Gothic Magic Lantern. The Palgrave Gothic Series. Palgrave Macmillan, London. https://doi.org/10.1057/9781137298928_7
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DOI: https://doi.org/10.1057/9781137298928_7
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