Abstract

This article argues that a sustained, consistent, and ambitious argument underlies Annette Michelson’s writings on art and film across the 1970s and 1980s. Working in relation to modernist discourses of the 1960s, Michelson links an account of time and temporal organization in cinema to a developmental model of film spectatorship. Read in this way, Michelson’s writing represents an alternate and overlooked strand of film theory and criticism, one that provides a new account of cinematic avant-gardes—and an alternative to what I call the infantile tendencies of film theory that is grounded in the terms of cognitive maturity.