James Tweedie is Associate Professor of Comparative Literature at The University of Washington and author of The Age of New Waves: Art Cinema and the Staging of Globalization (2013), which won the 2014 Katherine Singer Kovacs book award from the Society for Cinema and Media Studies.

• Introduction: The Archaeomodern Turn1. The Old Medium of Film2. Film and History in the Late Twentieth Century3. The Baroque Present4. Museums for Time Machines5. Archaeomodern Images6. The Cinema of PaintersPart I: Theory and the Modern PastChapter OneThe Hauntology of the Cinematic Image:Walter Benjamin, Film Theory, and the Mourning Play1. Haunted Screens2. History, Allegory, and Mourning3. Specters of Cinema4. After CinemaChapter TwoTime's Arrow, Time's Bow: Gilles Deleuze in the Baroque Age of Cinema1. Deleuze and the Baroque2. Cinema Unfolds3. After CinemaChapter ThreeSerge Daney, Zapper: Film, Television, and the Persistence of Media1. The Rearview Mirror2. An Adult Art3. Zapping the CinemaPart II: The Cinema of PaintersChapter FourThe Suspended Spectacle of History:The Tableau Vivant in Late Twentieth-Century Cinema1. The Post-Historical Image2. A Painting Ruined3. Caravaggio's Moving PicturesChapter FiveThe Afterlife of Art and Objects: The Cinematic Still Life in the Late Twentieth Century1. The Object as Event2. Modernity and the Sacred Object: Alain Cavalier's Therese3. Moving Pictures, Still Lives: On Terence DaviesChapter SixCaliban's Books: Old and New Media in the Work of Peter Greenaway1. The Canonical Artifact in a Thatcherite Moment2. Prospero's Library and the Unbound Book3. Illuminated Manuscripts4. A Nomadic Shakespeare and the Confines of HeritageChapter SevenOld Haunts: Commemoration and Mourning in Agnes Varda's Landscapes1. Unearthed2. Nature's Studio3. Land and Escapes

James Tweedie is Associate Professor of Comparative Literature at The University of Washington and author of The Age of New Waves: Art Cinema and the Staging of Globalization (2013), which won the 2014 Katherine Singer Kovacs book award from the Society for Cinema and Media Studies.

• Introduction: The Archaeomodern Turn1. The Old Medium of Film2. Film and History in the Late Twentieth Century3. The Baroque Present4. Museums for Time Machines5. Archaeomodern Images6. The Cinema of PaintersPart I: Theory and the Modern PastChapter OneThe Hauntology of the Cinematic Image:Walter Benjamin, Film Theory, and the Mourning Play1. Haunted Screens2. History, Allegory, and Mourning3. Specters of Cinema4. After CinemaChapter TwoTime's Arrow, Time's Bow: Gilles Deleuze in the Baroque Age of Cinema1. Deleuze and the Baroque2. Cinema Unfolds3. After CinemaChapter ThreeSerge Daney, Zapper: Film, Television, and the Persistence of Media1. The Rearview Mirror2. An Adult Art3. Zapping the CinemaPart II: The Cinema of PaintersChapter FourThe Suspended Spectacle of History:The Tableau Vivant in Late Twentieth-Century Cinema1. The Post-Historical Image2. A Painting Ruined3. Caravaggio's Moving PicturesChapter FiveThe Afterlife of Art and Objects: The Cinematic Still Life in the Late Twentieth Century1. The Object as Event2. Modernity and the Sacred Object: Alain Cavalier's Therese3. Moving Pictures, Still Lives: On Terence DaviesChapter SixCaliban's Books: Old and New Media in the Work of Peter Greenaway1. The Canonical Artifact in a Thatcherite Moment2. Prospero's Library and the Unbound Book3. Illuminated Manuscripts4. A Nomadic Shakespeare and the Confines of HeritageChapter SevenOld Haunts: Commemoration and Mourning in Agnes Varda's Landscapes1. Unearthed2. Nature's Studio3. Land and Escapes

James Tweedie is Associate Professor of Comparative Literature at The University of Washington and author of The Age of New Waves: Art Cinema and the Staging of Globalization (2013), which won the 2014 Katherine Singer Kovacs book award from the Society for Cinema and Media Studies.

• Introduction: The Archaeomodern Turn1. The Old Medium of Film2. Film and History in the Late Twentieth Century3. The Baroque Present4. Museums for Time Machines5. Archaeomodern Images6. The Cinema of PaintersPart I: Theory and the Modern PastChapter OneThe Hauntology of the Cinematic Image:Walter Benjamin, Film Theory, and the Mourning Play1. Haunted Screens2. History, Allegory, and Mourning3. Specters of Cinema4. After CinemaChapter TwoTime's Arrow, Time's Bow: Gilles Deleuze in the Baroque Age of Cinema1. Deleuze and the Baroque2. Cinema Unfolds3. After CinemaChapter ThreeSerge Daney, Zapper: Film, Television, and the Persistence of Media1. The Rearview Mirror2. An Adult Art3. Zapping the CinemaPart II: The Cinema of PaintersChapter FourThe Suspended Spectacle of History:The Tableau Vivant in Late Twentieth-Century Cinema1. The Post-Historical Image2. A Painting Ruined3. Caravaggio's Moving PicturesChapter FiveThe Afterlife of Art and Objects: The Cinematic Still Life in the Late Twentieth Century1. The Object as Event2. Modernity and the Sacred Object: Alain Cavalier's Therese3. Moving Pictures, Still Lives: On Terence DaviesChapter SixCaliban's Books: Old and New Media in the Work of Peter Greenaway1. The Canonical Artifact in a Thatcherite Moment2. Prospero's Library and the Unbound Book3. Illuminated Manuscripts4. A Nomadic Shakespeare and the Confines of HeritageChapter SevenOld Haunts: Commemoration and Mourning in Agnes Varda's Landscapes1. Unearthed2. Nature's Studio3. Land and Escapes