A. Gaudreault and P. Marion, The End of Cinema ? : A Medium Crisis in the Digital Age, 2015.

M. Hadjioannou, Search of Lost Reality : Waltzing with Bashir, pp.104-120, 2012.

J. Haynes, Nollywood : The Creation of Nigerian Film Genres, 2016.

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V. Rodowick and . Life, , p.7

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. Ibid, , p.85

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P. Ibid and . Xii,

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. Ibid,

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. Spinoza, Ethics," (Part I, Prop XIV), p.93

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, For a compelling reading of this film, and its powerful affective and ethical dimensions (as well as some important caveats around the "reliability" of its history and the ethics of its production), see chapter seven of R. Sinnerbrink, Cinematic Ethics: Exploring Ethical Experience Through Film, pp.165-184, 2016.

C. Deleuze and . Ii, , p.271

, For more on National Socialism's consistent fascination with, and use of cinema see E. Rentschler, The Ministry of Illusion: Nazi Cinema and Its Afterlife, 2002.

. Ibid,

, See Manovich, Language of New Media, p.295

, See Rodowick, Virtual Life of Film, p.9

. Bazin, Ontology of the Photographic Image, p.14

. See, A. Instance, and . Groenstad, Back to Bazin? Filmicity in the Age of the Digital Image, Popular Culture Review, vol.13, issue.2, pp.11-23, 2002.

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. Deleuze,

, There is a circle that goes from the audience to the film and back. Each person is looking and thinking and feeling and coming up with his or her own sense of things? So you don't know how it's going to hit people, Catching the Big Fish: Meditation, Consciousness and Creativity, p.20, 2016.

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B. Lynch and . Fish, , p.82

, comprising written works, recorded music, and in particular visual/conceptual art, in which he was originally trained. Lynch's very first experiences with film emerged, indeed, from his work as a visual artist ("I began to wonder if film could be a way to make paintings move?

. Ibid, , p.82

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, Notable in this respect is the reception of both The Beach Boys' Pet Sounds (1966) and The Beatles' Sgt Pepper's Lonely Hearts Club Band (1967) as

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