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Another Proof of the Preceding Theory: Film, Materialities and Stonehenge
16 references·0 citing·29 second hop
Another Proof of the Preceding Theory: Film, Materialities and Stonehenge (2013)Another Proof of the Preceding Theory: Fi…From The Emancipated Spectator (2025)From The Emancipated SpectatorThe Tactile Eye: Touch and the Cinematic Experience (2009)The Tactile Eye: Touch and th…Tactile Eye (2009)Tactile EyeShivers down your spine: cinema, museums, and the immersive view (2009)Shivers down your spine: cine…Prince of Networks: Bruno Latour and Metaphysics (2009)Prince of Networks: Bruno Lat…Archaeology is a brand!: the meaning of archaeology in contemporary popular culture (2008)Archaeology is a brand!: the …Death 24x a Second: Stillness and the Moving Image (2007)Death 24x a Second: Stillness…Death 24x a Second: Stillness and the Moving Image (2006)Death 24x a Second: Stillness…Materiality (2005)MaterialityArchaeology and Modernity (2004)Archaeology and ModernityIconoclash: Beyond the Image Wars in Science, Religion, and Art (2003)Iconoclash: Beyond the Image …The skin of the film: intercultural cinema, embodiment, and the senses (2000)The skin of the film: intercu…Window shopping: cinema and the postmodern (1993)Window shopping: cinema and t…Window Shopping (1993)Window ShoppingTechniques of the Observer: On Vision and Modernity in the 19th Century (1990)Techniques of the Observer: O…Visual Pleasure and Narrative Cinema (1975)Visual Pleasure and Narrative…Culture, Globalization, Mediation (2004)Body, Image and Affect in Consumer Culture (2010)On Touching—the Inhuman That Therefore I Am (2012)I'd like to buy the world a coke: Consumptionscapes of the “less affluent world” (1996)The Fire of Desire: A Multisited Inquiry into Consumer Passion (2003)The Cinema of Attractions Reloaded (2006)Deleuze and the Anthropology of Becoming (2010)Wounded cities: Memory-work and a place-based ethics of care (2011)Methodology-21: what do we do in the afterward? (2013)Working Memory, its Executive Functions, and the Emergence of Modern Thinking (2005)Symmetrical archaeology: excerpts of a manifesto (2007)Clockpunk Anthropology and the Ruins of Modernity (2010)Mobile Screens (2012)Mobile screens: the visual regime of navigation (2012)Tape: Or, Rewinding the Phonographic Regime (2017)Objectification Theory: Toward Understanding Women's Lived Experiences and Mental Health Risks (1997)Post‐feminism and popular culture (2004)Understanding Popular Culture (2006)Democracy of Objects (2011)Pierre Bourdieu and International Relations: Power of Practices, Practices of Power (2011)Hydraulic City (2017)The Quadruple Object (2011)Taste Regimes and Market-Mediated Practice (2012)Introduction: Resource Materialities (2014)Postfeminist Television Criticism: Rehabilitating Critical Terms and Identifying Postfeminist Attributes (2001)Notes to self: the visual culture of selfies in the age of social media (2015)Stereoscopic visuality (2013)The Cambridge Companion to Film Music (2016)Where are we?: camera movements and the problem of point of view (2016)
this work references cited by second hop

References

  • 1975Visual Pleasure and Narrative Cinema8,669 cited
  • 2025From The Emancipated Spectator1,648 cited
  • 2000The skin of the film: intercultural cinema, embodiment, and the senses1,527 cited
  • 2009Prince of Networks: Bruno Latour and Metaphysics908 cited
  • 1993Window Shopping822 cited
  • 1993Window shopping: cinema and the postmodern607 cited
  • 2004Archaeology and Modernity563 cited
  • 2007Death 24x a Second: Stillness and the Moving Image561 cited
  • 2005Materiality521 cited
  • 2009Tactile Eye501 cited
  • 2003Iconoclash: Beyond the Image Wars in Science, Religion, and Art289 cited
  • 1990Techniques of the Observer: On Vision and Modernity in the 19th Century287 cited
  • 2009Shivers down your spine: cinema, museums, and the immersive view272 cited
  • 2008Archaeology is a brand!: the meaning of archaeology in contemporary popular culture249 cited
  • 2009The Tactile Eye: Touch and the Cinematic Experience228 cited
  • 2006Death 24x a Second: Stillness and the Moving Image197 cited

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