Focussing on the cinematic technique of magnification, this contribution studies What may be called the aesthetic surplus of scientific cinematography and asks how this surplus affects and informs both scientific research and film theory's conceptions of the medium. Based on close readings of texts by Walter Benjamin and Jean Esptein as well as a number of early adopters of cinematography in the field of empirical scientific research, the contribution argues that the cinematic framework and magnification induces an ineluctable effect of the sublime which impressions as well as theorists with important consequences.
|Number of pages||14|
|Journal||Zeitschrift für Medienwissenschaft|
|Publication status||Published - 2011|