Hailed as the permanent record of fleeting moments, the cinema emerged at the turn of the nineteenth century as an unprecedented means of capturing time--and this at a moment when disciplines from physics to philosophy, and historical trends from industrialization to the expansion of capitalism, were transforming the very idea of time. In a work that itself captures and reconfigures the passing moments of art, history, and philosophy, Mary Ann Doane shows how the cinema, representing the singular instant of chance and ephemerality in the face of the increasing rationalization and standardization of the day, participated in the structuring of time and contingency in capitalist modernity.

At this book's heart is the cinema's essential paradox: temporal continuity conveyed through "stopped time," the rapid succession of still frames or frozen images. Doane explores the role of this paradox, and of notions of the temporal indeterminacy and instability of an image, in shaping not just cinematic time but also modern ideas about continuity and discontinuity, archivability, contingency and determinism, and temporal irreversibility. A compelling meditation on the status of cinematic knowledge, her book is also an inquiry into the very heart and soul of modernity.

Winner, Robert Motherwell Book Award, Outstanding Book on Modernism in the Arts, The Dedalus Foundation, 2019

As Latin American elites strove to modernize their cities at the turn of the twentieth century, they eagerly adopted the eugenic theory that improvements to the physical environment would lead to improvements in the human race. Based on Jean-Baptiste Lamarck’s theory of the “inheritance of acquired characteristics,” this strain of eugenics empowered a utopian project that made race, gender, class, and the built environment the critical instruments of modernity and progress.

Through a transnational and interdisciplinary lens, Eugenics in the Garden reveals how eugenics, fueled by a fear of social degeneration in France, spread from the realms of medical science to architecture and urban planning, becoming a critical instrument in the crafting of modernity in the new Latin world. Journeying back and forth between France, Brazil, and Argentina, Fabiola López-Durán uncovers the complicity of physicians and architects on both sides of the Atlantic, who participated in a global strategy of social engineering, legitimized by the authority of science. In doing so, she reveals the ideological trajectory of one of the most celebrated architects of the twentieth century, Le Corbusier, who deployed architecture in what he saw as the perfecting and whitening of man. The first in-depth interrogation of eugenics’ influence on the construction of the modern built environment, Eugenics in the Garden convincingly demonstrates that race was the main tool in the geopolitics of space, and that racism was, and remains, an ideology of progress.