ty of, among other mechanical phenomena, the motion picture. The motion picture, while photographically verisimilar, fragments, reorders, and synthesizes time and space as animation in a completely new "cinematic" mode that finds no necessity in the objective teleo-logic of realism. Thus, although modernism has found its most remarked expression in the painting and photography of the futurists (who attempted to represent motion and speed in a static form) and the cubists (who privileged multiple perspectives and simultaneity), and in the novels of James Joyce, we can see in the cinema modernism's fullest representation.[22]Philosopher Arthur Danto tells us, "with the movies, we do not just see that they move, we see them moving: and this is because the pictures themselves move."[23] While still objectifying the subjectivity of the visual into the visible, the cinematic qualitatively transforms the photographic through a materiality that not only claims the world and others as objects for vision but also signifies its own bodily agency, intentionality, and subjectivity. Neither abstract nor static, the cinematic brings the existential activity of vision into visibility in what is phenomenologically experienced as an intentional stream of moving images--its continous and autonomous visual production and meaningful organization of these images testifying to the objective world and, further, to an anonymous, mobile, embodied, and ethically invested subject of worldly space. This subject (however physically anonymous) is able to inscribe visual and bodily changes of situation, to dream, hallucinate, imagine, and re-member its habitation and experience of the world. And, as is the case with human beings, this subject's potential mobility and experience are both open-ended and bound by the existential finitude and bodily limits of its particular vision and historical coherence (that is, its narrative). Here, again, La jete is exemplary. Despit...
