Marking a return for Laura Mulvey to questions of film theory and feminism, as well as a reconsideration of new and old film technologies, this urgent and compelling collection of essays is essential reading for anyone interested in the power and pleasures of moving images. Its title, Afterimages, alludes to the dislocation of time that runs through many of the films and works it discusses as well as to the way we view them. Beginning with a section on the theme of woman as spectacle, a shift in focus leads to films from across the globe, directed by women and about women, all adopting radical cinematic strategies. Mulvey goes on to consider moving image works made for art galleries, arguing that the aesthetics of cinema have persisted into this environment. Structured in three main parts, Afterimages also features an appendix of ten frequently asked questions on her classic feminist essay “Visual Pleasure and Narrative Cinema,” in which Mulvey addresses questions of spectatorship, autonomy, and identity that are crucial to our era today.

Hurry, Hurry! Step right up! Secure all loose articles. Stay seated and keep your hands inside the cars. This is going to be one nonstop thrill ride! Join Rhode Island shopkeeper Lydia Gwyndorra, as she takes us along through one mystifying summer season down by the sea and sand. Meet her three neighbors: beautiful but troubled Skyler; straight thinking engineer Jeff; and cocky, arrogant Kristin. They all live on the third floor of a new oceanfront apartment building, and it strikes Lydia right away how her neighbors arrived there under strange, yet similar, circumstances. Now, the inexplicable events occurring in their building are growing in intensity. In other words, the place is haunted! Once Lydia discovers that the great amusement park, Fantasima Pointe by the Sea, once occupied the site where they now live, things begin to make more sense. As she researches stories from the past, she begins to realize how they relate to what's happening now. But she can't figure it all out on her own, and time seems to be running out. Why does the shadow of the amusement park remain, and why were they all brought together at this particular place and time? Can Lydia, Kristin, Jeff, and Skyler, put together all the pieces of this paranormal puzzle before the terrifying past repeats itself? 'Afterimages' contains the elements of an old-fashioned ghost story, a disaster movie, a time-travel adventure, and a quirky sense of humor all twisted together with a new-age philosophy that makes it just a little thought provoking. Most of the story's setting is fictional, but at times it interacts with real places and history. Have fun, that's what it's all about!

Afterimages is a dream'ss lingering reflection captured by the poetry and photography of Carrie and Peter Karegeannes. It captures time; a brief moment in the life of two Americans who in 1949 stepped into a life of art, literature, and adventure. Walk through Paris; experience the spirit of a city rising from the rubble of war; share the living of a dream.

Afterimages is a journey of the eye, what the eye observes and what the eye cannot forget. Cathryn Hankla writes, the world I inhabit is a visual question, marked by a balancing line of light on distant water, a mirror horizon. These poems balance the death of family members against the monologue of a woman who comes to life under the coroner’s knife. Memories of a life-saving class counterbalance the image of drowned lovers in the film Women in Love. Photography, painting, and film all figure as arts that the mind uses to transcend loss and that the memory uses as aids to preserve the lost. Hankla’s eye for detail—soft down between the shoulder blades of a young cousin, silvery waves in the hair of two aunts remembering their flapper days and displaying the braids they bobbed—is as immediate as a touch on the shoulder and as fascinating as light flickering on a movie screen. There is no such thing as perfect communication as our train whistles north through fields of broken pines that my eyes climb branch after broken branch to their needled widow’s walks. I look out over this landscape, panning through the movie it becomes, and my mind wanders until I see, more clearly than ever before, your faces. Each window frames a changing composition, sometimes my own face, that registers only as afterimage. Hankla’s poems are a changing composition of the dead and the living, of black and white challenged by the light falling on peach, plum, and green apple in a Vermeer painting. Ultimately, these poems offer us, in the poet’s words, “courage not to save / our best for bitter ends” and “strength / to repeat that this earth wouldn’t have us forget.”

The sixth mass extinction or Anthropocene extinction is one of the most pervasive issues of our time. Animals, Plants and Afterimages brings together leading scholars in the humanities and life sciences to explore how extinct species are represented in art and visual culture, with a special emphasis on museums. Engaging with celebrated cases of vanished species such as the quagga and the thylacine as well as less well-known examples of animals and plants, these essays explore how representations of recent and ancient extinctions help advance scientific understanding and speak to contemporary ecological and environmental concerns.

The French philosopher Gilles Deleuze was one of the most innovative and revolutionary thinkers of the twentieth century. Author of more than twenty books on literature, music, and the visual arts, Deleuze published the first volume of his two-volume study of film, Cinema 1: The Movement-Image, in 1983 and the second volume, Cinema 2: The Time-Image, in 1985. Since their publication, these books have had a profound impact on the study of film and philosophy. Film, media, and cultural studies scholars still grapple today with how they can most productively incorporate Deleuze's thought. The first new collection of critical studies on Deleuze's cinema writings in nearly a decade, Afterimages of Gilles Deleuze's Film Philosophy provides original essays that evaluate the continuing significance of Deleuze's film theories, accounting systematically for the ways in which they have influenced the investigation of contemporary visual culture and offering new directions for research. Contributors: Raymond Bellour, Centre Nationale de Recherches Scientifiques; Ronald Bogue, U of Georgia; Giuliana Bruno, Harvard U; Ian Buchanan, Cardiff U; James K. Chandler, U of Chicago; Tom Conley, Harvard U; Amy Herzog, CUNY; András Bálint Kovács, Eötvös Loránd U; Patricia MacCormack, Anglia Ruskin U; Timothy Murray, Cornell U; Dorothea Olkowski, U of Colorado; John Rajchman, Columbia U; Marie-Claire Ropars-Wuilleumier, U Paris VIII; Garrett Stewart, U of Iowa; Damian Sutton, Glasgow School of Art; Melinda Szaloky, UC Santa Barbara.

In this fiercely personal account of her battling the before, and surviving the after, of losing her husband to cancer, Carla Malden takes us on a journey through grief to gratitude that alerts the entire forever-young generation: this is not your mother’s widowhood. AfterImage is a story of love more than loss, memory more than sorrow, life more than death.

Liam Kennedy here takes as his focus the ways in which selected photographers have sought to frame the activities and effects of American foreign policy, often with a critical perspective, and how their work engages the dynamics of power and knowledge that attend the American worldview. What is at issue in this book is understanding relations between the geopolitical conditions of visuality and the particulars of the image. Conditions of visuality, for Kennedy, are the ideologies that determine certain ways of seeing, that support actions and representations which establish (in)visibilities and which police the relationship between seeing and believing the American worldview. The individual photographers whose work Kennedy so insightfully dissects are those who have pushed the boundaries of photographic practice and who reflect critically on the contexts and scenery of war: Larry Burrows and Philip Jones Griffiths in Vietnam, Gilles Peress covering the Iranian Revolution, Susan Meiselas in El Salvador and Nicaragua, Ron Haviv and Gary Knight in the Balkans, Ashley Gilbertson and Chris Hondros in Iraq, and Tim Hetherington and Lynsey Addario in Afghanistan. These individuals expanded the conception and technical repertoire of photojournalism, receiving critical acclaim, provoking public and professional controversy, and often incurring great personal cost to themselves. Afterimages presents us with a revisionary understanding of the art of conflict photography. The images are often searing they sometimes demonize and dehumanize the enemy, but also humanize friend or victim: a focus on the human roots the range of feeling in such imagery, from horror to pity."

Since the election of President Barack Obama, many pundits have declared that we are living in a "post-racial America," a culture where the legacy of slavery has been erased. The new essays in this collection, however, point to a resurgence of the theme of slavery in American cultural artifacts from the late twentieth- and twenty-first centuries. Ranging from disciplines as diverse as African American studies, film and television, architectural studies, and science fiction, the essays provide a provocative look into how and why slavery continues to recur as a trope in American popular culture. By exploring how authors, filmmakers, historians, and others engage and challenge the narrative of American slavery, this volume invites further study of slavery in its contemporary forms of human trafficking and forced labor and challenges the misconception that slavery is an event of the past.