Review: The Lure of the Image: Epistemic Fantasies of the Moving Camera, by Daniel Morgan

Abstract

Book Review| September 01 2022 Review: The Lure of the Image: Epistemic Fantasies of the Moving Camera, by Daniel Morgan The Lure of the Image: Epistemic Fantasies of the Moving Camera by Daniel Morgan Pardis Dabashi Pardis Dabashi PARDIS DABASHI is an assistant professor of literatures in English and film studies at Bryn Mawr College; her work has appeared or is forthcoming in such venues as Modernism/modernity, PMLA, Textual Practice, and Early Popular Visual Culture. Her first book, Losing the Plot: Film and Feeling in the Modern Novel (forthcoming, University of Chicago Press), studies plot, ambivalence, and the image of the star in the classical Hollywood cinema and the modernist novel. Search for other works by this author on: This Site PubMed Google Scholar BOOK DATA Daniel Morgan, The Lure of the Image: Epistemic Fantasies of the Moving Camera. Oakland, CA: University of California Press, 2021. $85.00 cloth, $29.95 paper. 306 pages. Film Quarterly (2022) 76 (1): 101–102. https://doi.org/10.1525/fq.2022.76.1.101 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Pardis Dabashi; Review: The Lure of the Image: Epistemic Fantasies of the Moving Camera, by Daniel Morgan. Film Quarterly 1 September 2022; 76 (1): 101–102. doi: https://doi.org/10.1525/fq.2022.76.1.101 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentFilm Quarterly Search BOOK DATA Daniel Morgan, The Lure of the Image: Epistemic Fantasies of the Moving Camera. Oakland, CA: University of California Press, 2021. $85.00 cloth, $29.95 paper. 306 pages. When the camera moves, the spectator moves with it. The camera-eye is an extension of the spectator’s vision, allowing them to see and move through the world of the film, isn’t it? Not quite, Daniel Morgan insists. The aim of Morgan’s excellent new book, The Lure of the Image: Epistemic Fantasies of the Moving Camera, is to interrogate “one of the most persistent and intuitive ways of thinking about the moving camera: that spectators identify with the position and movement of the camera within the world of the film, that it serves as a surrogate for the spectator” (4). In directing sustained attention to camera movement, Morgan shows how this oft-noticed but undertheorized facet of film style accomplishes far more... You do not currently have access to this content.