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  1.  15
    To scan a memory: On Anouk De Clercq’s LiDAR film Thing.Martine Beugnet - 2022 - Philosophy of Photography 13 (1):135-151.
    LiDAR (Light Detection and Ranging) is a remote sensing technology. It needs no ambient light, nor the guidance of the human eye to capture and reproduce a likeness of the world around us. Although LiDAR generates a constant stream of technical literature, LiDAR images, once envisaged for their aesthetic and expressive value, seem to call for alternative modes of analysis. How do we approach the fast-expanding archive of scanner images? How do we adequately describe the intriguing, spectral visualizations that its (...)
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  2.  23
    Vertiginous Hauntings: The Ghosts of Vertigo.Kriss Ravetto-Biagioli & Martine Beugnet - 2019 - Film-Philosophy 23 (3):227-246.
    While the initial reception of Alfred Hitchcock's Vertigo was unspectacular, it made its presence felt in a host of other films – from Chris Marker's Sans Soleil, to Brian De Palma's Obsession, and David Lynch's Mulholland Dr.. What seemed to have eluded the critics at the time is that Vertigo is a film about being haunted: by illusive images, turbulent emotions, motion and memory, the sound and feeling of falling into the past, into a nightmare. But it is also a (...)
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  3.  77
    The Practice of Strangeness: L'Intrus - Claire Denis (2004) and Jean-Luc Nancy (2000).Martine Beugnet - 2008 - Film-Philosophy 12 (1):31-48.
    A child of the era of decolonization, Claire Denis grew up in various regions of France’s subSaharan colonial lands, and was brought back to the ‘métropole’ as a teenager in the 1960s.She has thus had a double practice of foreignness, abroad, and in her ‘own’ country, whichshe did not know and where, in similar yet fundamentally different ways than in Africa, shefelt like an outsider again. As the daughter of a colonial administrator – a childhoodbeautifully evoked in her first feature, (...)
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  4. Gulliver goes to the movies : screen size, scale, and experiential impact : a dialogue.Martine Beugnet & Annie van den Oever - 2016 - In Dominique Chateau & José Moure (eds.), Screens: from materiality to spectatorship: a historical and theoretical reassessment. Amsterdam: Amsterdam University Press.
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  5.  22
    Cinema and Sensation: Contemporary French Film and Cinematic Corporeality1.This article is part of a larger research project published in 2007 by Edinburgh University Press as a monograph entitled Cinema and Sensation: French Film and the Art of Transgression. [REVIEW]Martine Beugnet - 2008 - Paragraph 31 (2):173-188.
    One of the most fascinating phenomena in contemporary art cinema is the re-emergence of a corporeal cinema, that is, of filmmaking practices that give precedence to cinema as the medium of the senses. This article thus explores trends of filmmaking and film theorizing where the experience of cinema is conceived as a unique combination of sensation and thought, of affect and reflection. It argues that, reconnecting with a certain tradition of French film theory in particular, contemporary French cinema offers a (...)
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