The hero stands on stage in high-definition 3-D while doubled on a crude pixel screen in Billy Lynn’s Long Halftime Walk. Alien ships leave Earth by dissolving at the conclusion of Arrival.  An illusory death spiral in Vertigo transitions abruptly to a studio set, jolting the spectator. These are a few of the startling visual moments that Garrett Stewart examines in Cinemachines, a compelling, powerful, and witty book about the cultural and mechanical apparatuses that underlie modern cinema.
            Engaging in fresh ways with revelatory special effects in the history of cinematic storytelling—from Buster Keaton’s breaching of the film screen in Sherlock Jr. to the pixel disintegration of a remotely projected hologram in Blade Runner 2049—Stewart’s book puts unprecedented emphasis on technique in moving image narrative. Complicating and revising the discourse on historical screen processes, Cinemachines will be crucial reading for anyone interested in the evolution of the movies from a celluloid to a digital medium.
 

Garrett Stewart is the James O. Freedman Professor of Letters in the Department of English at the University of Iowa. He is the author of many books published by the University of Chicago Press, most recently Transmedium: Conceptualism 2.0 and the New Object Art.

— Daniel Morgan, author of Late Godard and the Possibilities of Cinema

— Karla Oeler, author of A Grammar of Murder: Violent Scenes and Film Form

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— Choice