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This book explores the complex relationship between the technical and the social aspects of film. This relationship, the contributors argue, constitutes the cinematic apparatus, which can be understood only through a close examination of both the actual machinery of cinema and the metapsychology of cinema- the constructions, positions and effects of meaning and subjectivity involved in the various aspects of the technical mechanism. Among the specific topics addressed by the contributors are: technology and ideology in cinema; sound, color, animation and the perception of motion as aspects of the apparatus; avant-garde practice and technological determinations; and the cinematic apparatus from the perspective of the radical questions posed by feminist critiques.
