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| Acknowledgments | |
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| Introduction: film theory, cinema, the body and the senses | |
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| Cinema as window and frame | |
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| Rear Window | |
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| Constructivism | |
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| Realism | |
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| Open and closed film forms (Leo Braudy) | |
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| Classical cinema | |
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| Central perspective | |
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| Rudolf Arnheim | |
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| Sergej Eisenstein | |
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| Andr� Bazin | |
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| David Bordwell | |
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| Cinema as shop-window and display | |
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| Cinema as door - screen and threshold | |
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| The Searchers | |
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| Entry into the film | |
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| Etymology of screen | |
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| Thresholds of the cinema/movie theater | |
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| Beginnings: credits and credit sequences | |
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| Neo-formalism (Bordwell/Thompson) | |
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| Post-structuralism (Thierry Kuntzel) | |
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| Michail Bachtin | |
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| Door/screen as filmic motif in Buster Keaton and Woody Allen | |
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| Cinema as mirror and face | |
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| Persona | |
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| B�la Bal�zs | |
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| The close-up | |
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| The face | |
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| Face as mirror of the unconscious | |
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| Christian Metz | |
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| Jean-Louis Baudry | |
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| Apparatus-theory | |
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| Early cinema and the close-up (Tom Gunning) | |
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| Reflexive doubling in modern (art) cinema | |
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| Mirror neurons | |
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| Paradoxes of the mirror | |
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| Cinema as eye - look and gaze | |
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| Blade Runner | |
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| Active and passive eye | |
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| The mobile eye of early cinema | |
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| Dziga Vertov | |
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| Apparatus-theory | |
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| Suture | |
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| Continuity-editing | |
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| Laura Mulvey | |
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| Feminist film theories | |
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| The Silence of the Lambs | |
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| Historicity of modes of perception | |
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| Regimes of the gaze | |
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| The big Other (Jacques Lacan) | |
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| Slavoj �i�ek | |
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| The panoptic gaze (Michel Foucault) | |
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| Niklas Luhmann and self-monitoring | |
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| Cinema as skin and touch | |
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| Crash | |
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| Critique of "ocularcentrism" | |
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| Skin and identity | |
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| The New world | |
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| Vivian Sobchack | |
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| Phenomenology | |
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| The (re-)turn to the body | |
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| Avant-garde practices | |
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| Body and genre (Linda Williams, Barbara Creed) | |
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| The skin of film (Laura Marks) | |
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| Accented cinema (Hamid Naficy) | |
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| Siegfried Kracauer | |
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| Cinema as ear - acoustics and space | |
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| Singin' in the Rain | |
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| Sound as spatial phenomenon | |
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| Silent cinema and the introduction of sounds | |
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| Sound in classical cinema | |
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| The acousni�tre (Michel Chion) | |
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| Reversals in the hierarchy of image and sound | |
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| Surround-systems | |
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| Materiality and plasticity of sound | |
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| Cinema as brain - mind and body | |
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| Eternal Sunshine of the Spotless Mind | |
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| Propaganda and cult films | |
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| Five concepts for connecting mind and cinema | |
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| Gilles Deleuze | |
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| Annette Michelson | |
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| Torben Grodal | |
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| Mind-game films | |
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| Mind and body, spectator and film | |
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| Cognitivism | |
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| Phenomenology | |
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| Empathy | |
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| Embodiment and disembodied vision | |
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| Conclusion: digital cinema-the body and the senses refigured? | |
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| Toy story | |
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| Animation and (photo-)graphics | |
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| The future of projection | |
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| Screens: bigger and smaller | |
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| The new body norm: face or hand? | |
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| Productive contradictions: digital cinema, virtual reality, media convergence | |
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| Interface and portal instead of window, door and screen | |
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| Monsters Inc. and doors | |
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| Public and private | |
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| Mobility and hybridity | |
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| Film theory and philosophy: radical reformulations or rescue missions? | |
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| Notes | |
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| Bibliography | |
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| Index | |