"...Diderot meant his 'dream' of a phantasmagoric - one is tempted to say cinematic (ft 78)- Coresus et Callirhoe to be understood as corresponding to the painting's most salient features and overall atmosphere, in particular to the partial dissolution of solid form under the influence of a colored chiaroscuro..." 143

ft 78 (p. 234-5) - There is an obvious affinity between Diderot's account of the projection of speaking colored images on a screen - an idea doubtless extrapolated from his acquaintance with magic lanterns - and the modern cinema. But I am thinking as well of the similarity between other aspects of his commentary on the Coresus et Callirhoe - e.g., his use of the fiction of dreaming, his description of his physical immobilization in the cave (a detail clearly derived from Plato), and his characterization of the projected images as fantomes...See Cavell, The World Viewed: Reflections on the Ontology of Film, esp. pp. 25-7, where the 'helplessness' of the viewer is said to be 'mchanically assured'; pp. 101-2, where movies are compared with and distinguished from dreams and fantasies...also discussed in a long essay by Cavell, "More of The World Viewed" The Georgia Review, 28 (1974). also Francis Macdonald Cornford remarks in his translation of The Republic of Plato "A modern Plato would compare his Cave to an underground cinema, where the audience watch the play of shadows thrown by the film passing before a light at their backs."

Includes chapter on Fantasia which for the most part is too music-technically specific for my present purposes but which points to some other useful sources.  Cook provides a useful way of reconceptualizing multimedia in which meaning is not additive among the components but rather emerges from their interaction.  It is thus misguided to reject a Fantasia segment because the image puts an inappropriate interpretation on the music, forcing the listener to here it that way; rather, the new combination of image and sound creates new potentialities for interpretation by the listener.  While I admire Cook's work and find it useful, it is ahistorical and thus largely inapplicable to my present concerns.

pp. 139-72 cited by mark evan bonds

Cited in Techniques of the Observer on myth of persistence of vision

Implications of the Cel Animation Technique - 'animated film' first meant any motion picture. cartoons = equal distinct mode c. 1913. invention of celluloid animation reduced expense and allowed cartoons to flourish.

Machines of the Visible - photography decenters eye's place of mastery which had since Renaissance (123); becomes gauarantor of conformity of delusion with norm of visual perception. "The mechanical magic of the analogical representation of the visible is accomplished and articulated from a doubt as to the fidelity of human vision, and more widely as to the truth of sensory impressions. I wonder....if there is not, in the very principle of representation, a force of disavowal which gives free rein to an analogical illusion that is yet only weakly manifested by the iconic signifies themselves?"

The Place of Visual Illusions

Hogarth: Dance and the Movement from Vision to Imagination; Eye and Mind

Kant: Phantom Sensations and Mistaken Subjects; Representative Pleasures

"Tableaux vivants: Landscape, History Painting, and the Visual Imagination in Mendelssohn's Orchestral Music," Thomas S. Grey, 19th-Century Music, 1997

"Haydn, Laurence Sterne, and the Origins of Musical Irony," Mark Evan Bonds, Journal of the American Musicological Society 1991

see Journal de l'Empire, 3 July 1812, p. 2, letter signed R-h, for possible kaleidoscope

cited by Mary Ann Smart

best survey of mimesis and expression in all the arts of 18th c. according to mark evan bonds 2006

chapter 7 - relationship of organicism and aesthetics in late 18th and early 19th centuries 

cited by Tresch

cited by mark evan bonds

Cited by Gitelman Always Already New

Cited by Gitelman Always Already New.
Focusing on the period from about 1880 to 1905, Jonathan Crary examines the connections between the modernization of subjectivity and the dramatic expansion and industrialization of visual/auditory culture.

Cited by Paulin - discussion of Wagner's 'concrete remaking of the spectator's experience' at Bayreuth, in a way that anticipated the coercively 'attentive' conditions of cinema spectatorship. 

Cited in Grimley, Grieg: Music, Landscape and Norwegian Identity, for "rich and insightful analysis of the ways in which the act of observation changed in the first half of the nineteenth century.