Morris has noted that at an initial screening of the film several audience members started to consider Leuchter’s argument as truth. Wanting to avoid being tarred as a Holocaust denier, Morris subsequently re-edited his film adding a voiceover of a Holocaust historian. This addition makes me overtly aware of the documentary’s construction therefore I begin to question the film’s objectivity. It is a voice which does not belong to the story of Fred A. Leuchter. Its appearance seems contrived (suddenly being introduced halfway through the narrative). As my awareness to the film’s construction is heightened, I begin to pay more attention to the images as symbolic; as images I need to interrupt and analyse critically rather than images which teach me something about the world I live in. When the film has finished, I feel as if I am conflicted and confused about the “character” Fred A. Leuchter rather than feeling I have learnt something about Holocaust denial. Perhaps this is because my knowledge of the topic is relatively extensive? I am not dissatisfied with the experience though. It has been an intriguing character study, much as I expect Morris intended it to be. Merleau-Ponty, Maurice. “Eye and Mind.” Trans. Carleton Dallery. The Primacy of Perception. Ed. James Edie. Evanston: Northwestern UP, 1964. 159-90. Print. Landon, Brooks. “Cyberpunk: Future So Bright They Gotta Wear Shades.” Cinefantastique 18.1 (1987): 26-31. Print.

Simon Rothöhler, Amateur der Weltgeschichte: Historiographische Praktiken im Kino der Gegenwart, Zurich 2011.Christa Blümlinger, Kino aus zweiter Hand: Zur Ästhetik materieller Aneignung im Film und in der Medienkunst, Berlin 2009. This overriding and transformation of automatic movement by autonomous movement can be understood as a phenomenon that is not merely brought about as mere technological “illusion” if we consider that our relation to our own lived bodies is precisely similar: that is, our automatic physiological operations are constantly overwritten and transformed by our autonomous and intentional actions unless these operations are foregrounded because, in a particular instance, they trouble us and we specifically attend to them. Mitchell, William J. The Reconfigured Eye: Visual Truth in the Post-Photographic Era. Cambridge: MIT P, 1992. Print.

Proust, Marcel. Remembrance of Things Past. Vol. 1. 1922. Trans. C. K. Scott Moncrieff and Terence Kilmartin. New York: Random House, 1981. Print. Ihde, Don. Technology and the Lifeworld: From Garden to Earth. Bloomington: Indiana UP, 1990. Print.Hanich: Another criticism sometimes leveled at phenomenology is that it is a-political. With its insistence on the description of lived experience, it focuses on what is rather than what should be. Barker, Jennifer. “Bodily Irruptions: The Corporeal Assault on Ethnographic Narration.” In Cinema Journal 34:3, 1995, 57–76. Hanich: Let’s move to your conceptualisation of the ‘film’s body’ – the idea that in films we encounter a quasi-subject that not only perceives a world but also confronts us with the expression of its perception. This was certainly the most controversial concept in the book. Although my most novel contributions here are, I hope, to our understanding of the technologies of cinematic and electronic representation (those two materialities that constitute our current moving-image culture), something must first be said of that culture’s grounding in the context and phenomenology of the photographic (which has provoked a good deal of phenomenological description). [3] The photographic mode of perception and representation is privileged in the period of market capitalism located by Jameson as beginning in the 1840s. This was a “moment” emergent from and driven by the technological innovations of steam-powered mechanization, which both enabled unprecedented industrial expansion and informed the new cultural logic of realism. Not only did industrial expansion give rise to other modes and forms of expansion, but this expansion was itself historically unique because of its unprecedented visibility. As Jean-Louis Comolli points out: “The second half of the nineteenth century lives in a sort of frenzy of the visible. . . . [This is] the effect of the social multiplication of images. . . . [It is] the effect also, however, of something of a geographical extension of the field of the visible and the representable: by journies, explorations, colonisations, the whole world becomes visible at the same time that it becomes appropriatable” (122-23). Thus, although the cultural logic of realism has been seen as represented primarily by literature (most specifically, the bourgeois novel), it is, perhaps, even more intimately bound to the mechanically achieved, empirical, and representational “evidence” of the world constituted—and expanded—by photography.