Walter Benjamin, “The Storyteller: Reflections on the Works of Nikolai Leskov,” in Illuminations: Essays and Reflections, ed. Hannah Arendt, trans. Harry Zohn (New York: Schocken, 1969), 90.
Jacques Rancière, Film Fables, trans. Emiliano Battista (Oxford: Berg, 2006), 157.
Gilles Deleuze, “Optimisme, pessimisme et voyage: Lettre à Serge Daney,” in Serge Daney, Ciné journal, vol. 1: 1981–1982 (Paris: Petite Bibliothèque des Cahiers du cinéma, 1998).
Ibid.
See Thomas Levin, “Rhetoric of the Temporal Index: Surveillant Narration and the Cinema of ‘Real Time,’” in CTRL Space: Rhetorics of Surveillance from Bentham to Big Brother, ed. Thomas Levin, Ursula Frohne, and Peter Weibel (Karlsruhe: Center for Art and Media, 2002), 578–593.
See Serge Daney, “The Tracking Shot in Kapo” (1992), trans. Laurent Kretzschmar, Senses of Cinema 30 (January–March 2004), →.
Then there is 2001: A Space Odyssey (1968), whose maker Stanley Kubrick is said to be the director of the trompe-l’œil moon landing film in a famous urban legend that goes by the name of “Area 51.” Everything seems to correspond here, since, that film is made a year before the moon landing movie and the link to the year 2001 will be vital to our argument. William Karrel’s mockumentary “Dark Side of the Moon” is a beautiful elaboration on this myth; it has interviews with Donald Rumsfeld, and it is shot in 2002...
Giorgio Agamben, “Le cinéma de Guy Debord,” in Image et mémoire (Paris: Éditions Hoëbeke, 1998), reproduced at → (accessed February 15, 2004).
Believing this story entails also believing that a certain film producer in Australia, who had borrowed some of this footage in 1979 for a film on Pink Floyd’s Dark Side of the Moon came to think he was the haphazard savior of one of the most important documents in the History of mankind. But that story was never followed through. See Carmel Egan, “One Small Step in Hunt for Moon Film World Didn't See,” The Sydney Morning Herald, August 20, 2006, →.
“Le voyage dans la lune,” directed by Georges Méliès (1902).
Soft and Hard (A Soft Conversation Between Two Friends on a Hard Subject), directed by Jean-Luc Godard and Anne-Marie Miéville, (1985).
This is similar to the way in which the outcome of a presidential debate could be tampered with retroactively in a very dark place nicknamed “spin alley,” at the height of the dizzying second Bush presidential campaign.
Here we don’t speak of a new camera; still, the dimension shift, literally and metaphorically, may be as radical as the one that goes from cinema to TV. See →.