Chapters in this book

1. Frontmatter 1
2. Contents 5
3. Editorial 9
4. Acknowledgments 11
5. Introduction: Screen, a Concept in Progress 13
6. PART I: Archeology and History
7. Rectangle-Film [25x19] (1918) 25
8. Intersections between Showing and Concealment in the History of the Concept of Screen 29
9. Archaic Paradigms of the Screen and Its Images 42
10. Thematizing the “Arche-Screen” through Its Variations 62
11. The Stuff of Screens 70
12. PART II: Technology and New Practices
13. Scaling Down: Cinerama on Blu-ray 82
14. The Disappearance of the Surface 97
15. GoPro: Augmented Bodies, Somatic Images 107
16. The Four Practices? Challenges for an Archaeology of the Screen 116
17. Screens in the City 125
18. PART III: Theory
19. The Screenic Image: Between Verticality and Horizontality, Viewing and Touching, Displaying and Playing 143
20. From Screen-Scape to Screen-Sphere: A Meditation in Medias Res 157
21. The Concept of the Mental Screen: The Internalized Screen, the Dream Screen, and the Constructed Screen 176
22. Between Fascination and Denial: The Power of the Screen 186
23. PART IV: Intermediality
24. Screens after Dos Passos’s U.S.A. Trilogy: Current Answers for the Eyeminded Public 203
25. El Lissitzky’s Screening Rooms 223
26. But Who Actually Watched Mark Lewis’s Films at the Louvre? 236
27. PART V: Dialogues
28. Gulliver Goes to the Movies: Screen Size, Scale, and Experiential Impact – A Dialogue 247
29. The Skin and the Screen – A Dialogue 258
30. The Screen and the Concept of Dispositif – A Dialogue 264
31. Notes 273
32. General Bibliography 321
33. Notes on Contributors 344
34. Index of Names 350
35. Index of Film Titles 356