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From Charcot to Charlot: Unconscious Imitation and Spectatorship in French Cabaret and Early Cinema
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From Charcot to Charlot: Unconscious Imitation and Spectatorship in French Cabaret and Early Cinema (2001)From Charcot to Charlot: Unconscious Imit…Ethnographic spectacle and trans-Atlantic performance: Unravelling the costumes of vaudeville’s ‘Queen’, Eva Tanguay (2019)Ethnographic spectacle and tr…Chronic Conditions: Beckett, Bergson and Samuel Johnson (2016)Chronic Conditions: Beckett, …From facial expressions to bodily gestures (2015)From facial expressions to bo…The World of the Neurology Ward: Hauntology and European Modernism mal tourné in Butoh (2013)The World of the Neurology Wa…‘The Epidermis of Reality’: Artaud, the Material Body and Dreyer'sThe Passion of Joan of Arc (2013)‘The Epidermis of Reality’: A…Jean Epstein's documentary cinephilia (2012)Jean Epstein's documentary ci…Chaplin and the body of modernity (2010)Chaplin and the body of moder…The Cinema of Attractions Reloaded (2006)The Cinema of Attractions Rel…Putting on appearances: Mimetic representations of hysteria (2004)Putting on appearances: Mimet…Fashion and the White Savage in the Parisian Music Hall (2004)Fashion and the White Savage …An essay on the meaning of the comic. (1911)No Author Better Served: The Correspondence of Samuel Beckett and Alan Schneider (2000)How Beckett Fails, Once More with Music (2004)Cinema I (1986)The Skin of the Film (2000)The skin of the film: intercultural cinema, embodiment, and the senses (2000)Visions of Excess: Selected Writings, 1927-1939 (1985)The Archive and the Repertoire: Performing Cultural Memory in the Americas (2003)Specters of Marx (2012)Difference and Pathology: Stereotypes of Sexuality, Race, and Madness (1985)Extraordinary Bodies: Figuring Physical Disability in American Culture and Literature (1998)Black Venus (1999)Status, Votive Luxury, and Labour: The Female Rapper’s Delight (2019)Powers of Horror: An Essay on Abjection (1984)Ostrannenie. On “Strangeness“ and the Moving Image: The History, Reception, and Relevance of a Concept (2011)Images from the Region of the Pueblo Indians of North America (2016)Pas de deux for Dancer and Camera in Maya Deren’s Films (2017)Rabelais and his world (2020)“Human or machine?” performing androids, “Elektro‐Homos,” and the “Phroso” and “Moto Phoso” manias on the popular stage around 1900 (2023)The expression of the emotions in man and animals. (1872)Parables for the Virtual (2002)Parables for the virtual: movement, affect, sensation (2002)On Longing (1993)The Close-Up: Scale and Detail in the Cinema (2003)Cinephilia or the Uses of Disenchantment (2005)The Birth of the Clinic: An Archaeology of Medical Perception. (1974)1.7 THIS SEX WHICH IS NOT ONE (1977)Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought (1994)First of the Red Hot Mamas: "Coon Shouting" and the Jewish Ziegfeld Girl (1999)Sex, Savagery, and the Woman Who Made Vaudeville Famous (2015)Women, Fire, and Dangerous Things: What Categories Reveal about the Mind (1989)The Cinema of Attractions Early Film, Its Spectator and the Avant-Garde (1990)The Emergence of Cinematic Time: Modernity, Contingency, the Archive (2002)Audio-description reloaded: An analysis of visual scenes in2012andHero (2014)Who Has the Last Laugh?Nanook of the Northand Some New Thoughts on an Old Classic (2014)
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Cited by

  • 2010Chaplin and the body of modernity21 cited
  • 2015From facial expressions to bodily gestures21 cited
  • 2006The Cinema of Attractions Reloaded17 cited
  • 2004Putting on appearances: Mimetic representations of hysteria13 cited
  • 2016Chronic Conditions: Beckett, Bergson and Samuel Johnson13 cited
  • 2019Ethnographic spectacle and trans-Atlantic performance: Unravelling the costumes of vaudeville’s ‘Queen’, Eva Tanguay5 cited
  • 2013‘The Epidermis of Reality’: Artaud, the Material Body and Dreyer'sThe Passion of Joan of Arc5 cited
  • 2013The World of the Neurology Ward: Hauntology and European Modernism mal tourné in Butoh5 cited
  • 2012Jean Epstein's documentary cinephilia5 cited
  • 2004Fashion and the White Savage in the Parisian Music Hall4 cited

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