ArgumentThis essay considers the work of projection and the hand of the projectionist as important components of the social space of the cinema as it comes into being in the nineteenth century and the early decades of the twentieth. I bring the concept of Maurice Merleau-Ponty on the place of the body as an entity that applies itself to the world “like a hand to an instrument” into a discussion of the pre-cinematic projector as an instrument that we can interpret (...) as evidence of the experience of the work of the projectionist in the spirit of film theory and media archaeology, moving work on instrumentation in a different direction from the analysis of the work of the black box in laboratory studies. Projection is described as a psychological as well as a mechanical process. It is suggested that we interpret the projector not simply in its activity as it projects films, but in its movement from site to site and in the workings of the hand of its operator behind the scenes. This account suggests a different perspective on the cinematic turn of the nineteenth century, a concept typically approached through the study of the image, the look, the camera, and the screen. (shrink)

Drawing on the theoretical frameworks of antiblackness and intersectionality and the concept of viral visibility, this essay attends to the considerable archive of research about endemic Kaposi’s sarcoma in sub-Saharan Africa accrued during the mid-20th century. This body of data was inexplicably overlooked in Western research into KS during the first decade of the AIDS epidemic, during which period European and Mediterranean KS cases were most often cited as precedents despite the volume of African data available. This paper returns to (...) the research on KS conducted in Africa during the colonial and postcolonial period to consider visibility, racial erasure, and discourses of global epidemiology, suggesting that the dynamics of medical research on HIV/AIDS have proceeded according to a tacit paradigm of antiblackness manifest in multiple exclusions of Africa from global health agendas—most recently the exclusion of the region from antiretroviral drug therapy during the first decades of the treatment’s availability. During that decade KS all but disappeared among people with access to ARV therapy while KS became even more prevalent in sub-Saharan Africa, escalating along with HIV. (shrink)

This article is concerned with the affective relationship among bodies and film technologies in the process of building and using filmmaking instruments, taking as its object the early Rotoscope, a device patented by the legendary American animator Max Fleischer that entailed the projection of live-action film for use as a template in the drawing of animated figures, to which the live-action trace was thought to impart life-like, normative patterns of movement. Drawing from media archaeology, psychoanalytic theories of repetition, projection, and (...) condensation, and object relations theory, this article offers an interpretation of some of the kinds of psychic interactions offered in animated film through traces of the Rotoscope’s production history found in the device’s patent drawings, its patent embodiments, and its published family legend. It is proposed that the device was the locus of a collective fraternal performance, serving as a shared ground for an array of condensations and displacements and enactments of repetition compulsion among the multiple bodies engaged in the production of the device, as well as among the multiple animated and live-action film bodies that crossed its production screens and patent pages. One objective of this article is to shift the interpretive and analytic focus in film studies from the filmstrip and the projected screen image to the relationship between bodies and technologies in the experience of making films, and making the filmic apparatus. A secondary objective of this article is to suggest that the approach to bodily movement embedded in the design of the Rotoscope was hardly normative. The device offered a means to stretch and distort both norms and stereotypes of human expression through movement. The rotoscoped body sometimes performed in ways that pushed the limits of viewer expectations about how a given body will, or should, move, in space or across the screen. (shrink)