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Geil, A. (2020). ‘The Cruel Radiance of What Is’: Empathy, Imagination and Estrangement in Johan van der Keuken’s Face Value and Herman Slobbe. Paragraph, 43(3), 330-347. https://doi.org/10.3366/para.2020.0344[details]
Geil, A. (2018). Between gesture and physiognomy: ‘universal language’ and the metaphysics of film form in Béla Balázs’s Visible Man. Screen, 59(4), 512-522. https://doi.org/10.1093/screen/hjy054[details]
Geil, A. (2018). The Intervals of Habit. World Picture Journal, 13, 1-32. [details]
2017
Geil, A. (2017). Paranoid Critiques, Reparative Reductions: Leys, Sedgwick, and the Productive Opacity of Affect. Polygraph: An International Journal of Culture & Politics, 26, 36-64. [details]
2016
Geil, A. (2016). Dynamic Typicality. In N. Kleiman, & A. Somaini (Eds.), Sergei M. Eisenstein: Notes for a General History of Cinema (pp. 333-346). (Film Theory in Media History). Amsterdam: Amsterdam University Press. [details]
Geil, A. (2015). 'Let us save the heterogeneous sensible:' Vernacular Modernism vs. Cognitive Classicism in the Historical Turn of Film Studies. In A. Beltrame, G. Fidotta, & Andrea Mariani (Eds.), At the Borders of (Film) History: Temporality, Archaeology, Theories: XXI Convegno internazionale di studi sul cinema, Udine, 2-4 aprile 2014 (pp. 335-346). Udine: Forum. [details]
Geil, A. M. (2009). A Foothold for Pain: Movement, Recognition, Close-up. In F. Casetti, J. Gaines, & V. Re (Eds.), Dall'inizio, alle fine. Teorie del cinema in prospettiva / In the Very Beginning, at the Very End. Film Theories in Perspective Udine: Forum.
2004
Geil, A. M., & Rabinovitz, L. (2004). Introduction. In Memory Bytes: History, Technology, and Digital Culture (pp. 1-21). Durham: Duke University Press.
2013
Geil, A. (2013). The Spectator without Qualities. In P. Bowman (Ed.), Rancière and Film (pp. 53-82). (Critical connections). Edinburgh University Press. [details]
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