Abstract
This article seeks to highlight the relevance of Marie-José Mondzain's trailblazing writings on Byzantine image theory and its modern legacy, with particular reference to Image, icône, économie (Image, Icon, Economy, 1996) and Homo spectator (2007), to the revived debate about belief in cinema. Like André Bazin's and Christian Metz's classical accounts of this subject, Xavier Giannoli's film L'Apparition (The Apparition; 2018) grants a privileged role to a holy shroud and other visual fetishes; it also deals, like Mondzain, with their relations to invisible authority. I argue that Mondzain's writings and Giannoli's film enrich our appreciation of cinema's affinity with belief by staging complementary critiques of the empowerment of institutions by images.
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