The Cinema Effect

Traces the complementary histories of two forms of the image/motion relationship--the stillness of the image combined with the motion of the body (exemplified by what Cubitt calls the "protocinema of railway travel") & the movement of the image combined with the stillness of the body (exemplified by the melodrama & the magic lantern)--and argues that the magic of cinema arises from the intertwining relations between different kinds of movement, different kinds of time, different kinds of space.