Molly McGarry, Ghosts of Futures Past: Spiritualism and the Cultural Politics of Nineteenth-Century America (University of California Press, 2008), 25–26, 31–34, 41–42.
Antoine de Baecque and Thierry Jousse, “Cinema and Its Ghosts: An Interview with Jacques Derrida,” first published in Cahiers du Cinéma, and later, in a translation by Peggy Kamuf, in Discourse 37, no. 1–2 (Winter–Spring 2015).
Jacques Derrida and Bernard Stiegler, Ecographies of Television: Filmed Interviews, trans. Jennifer Bajorek (Polity Press, 2002).
Félix Guattari similarly emphasizes cinema’s distinctive capacity to engage the unconscious through heterogeneous semiotic channels, describing cinema as a “gigantic machine for modelling the social libido,” whose machinic qualities partially evade psychoanalytic reductions to linguistic signifiers. Félix Guattari, “The Poor Man’s Couch,” in Chaosophy: Texts and Interviews 1972–1977, ed. Sylvère Lotringer (Semiotext(e), 2008), 258.
Edgar Morin, The Cinema, or The Imaginary Man, trans. Lorraine Mortimer (University of Minnesota Press, 2005), 95.
Morin, The Cinema, xxiv–xxv.
Guattari argues that cinema produces complex “constellations of affects” through sensory multiplicities, emphasizing its animistic and emotional potency. Unlike psychoanalysis, which attempts to stabilize and domesticate desire, cinema maintains openness through polyvocal semiotic flows, enhancing collective emotional resonance. See Guattari, “The Poor Man’s Couch,” 262–65.
Morin, The Cinema, 97.
Morin, The Cinema, 67.
