Angela Dalle Vacche is Professor of Cinema Studies at the Georgia Institute of Technology in Atlanta. She has written extensively on the representation of history in film; on Italian women and early cinema; on intermediality and color. She is the author or editor of such works as Film, Art, NewMedia: Museum without Walls? (2012) and Diva: Defiance and Passion in Early Cinema (2008), and is currently developing a book on African cinema.
Preface & Acknowledgements
Introduction: The Soul of Cinema The Structure of the Book Conceptual Key Words Cinema's Special Eye Lady in the Lake Cinema as Mind-Machine
Art A Christological Ontology Impure Cinema Pure Cinema The Postwar Art Documentary Painting as Object, Cinema as Event Frame and Screen The Objects of Still Life and the Camera Lens as Object From Painting to Biology
Science Darwin and Bergson Evocative Affinities Bergson, Einstein, Heisenberg Geometry and the Snowflake Mathematics and the Policier Miraculous Mathematics Neorealism and Calculus.. Michael Faraday
Religion Immanence and the Supernatural Catholics and Communists Taking Risks Looking at Oneself from the Outside Charlot and Cabiria Saint Sulpice and Max Ophuls Robert Delannoy's Religious Adaptations Bazin's Ontology, Bresson's Stylistics
Epilogue: Wind and Dust Anti-Anthropocentric Anthropocosmomorphism The Wild Grass of Saintonge
Bibliography: Primary and Secondary Sources Primary Sources: Articles by André Bazin, cited in each chapter Primary Sources: Compilations of essays by André Bazin Secondary Sources