The dispositif of the moving and projected image, defying its ossification under the weight of seventies-era apparatus theory, has returned to prominence. Screen architectures and moving-image installations have characterized a large-scale reconfiguration and reimagination of the dispositifs of cinema in the decades leading from the late twentieth into the early twenty-first century. The architecture of the moving and projected image has been at the center of this renewed focus on the dispositif.
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In his essay David Bordwell states that "Camera movement in cinema is one of the most difficult are
** Apologies for any cross-postings
Call for papers for Book Essays in edited collection
Jacques Rancière and Film Theory