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[1] Gilles Deleuze, Cinema 1: The Moving Image, trans. Hugh Tomlinson and Barbara Habberjam (Minneapolis: University of Minnesota, 1986).
[2] Rebecca Coleman, “The Becoming of Bodies,” Feminist Media Studies 8, no. 2 (June 2008): 163–79, https://doi.org/10.1080/14680770801980547.
[3] Mike Featherstone, “Body, Image and Affect in Consumer Culture,” Body & Society 16, no. 1 (March 2010): 193–221, https://doi.org/10.1177/1357034×09354357.
[4] Brian Massumi, Parables for the Virtual: Movement, Affect, Sensation (Durham, NC: Duke University Press, 2002).
[5] Ferdinand De Saussure, Course in General Linguistics, ed. Perry Meisel and Haun Saussy, trans. Wade Baskin (New York: Columbia University Press, 2011), 65-67.
[6] Roland Barthes, Mythologies, trans. Annette Lavers (Jonathan Cape, 1972), 113-114.
[7] Ibid, 114.
[8] Ibid, 114.
[9] Ibid, 115.
[10] Stuart Hall, ed., Representation: Cultural Representation and Signifying Practices (London: Sage, 1997), 13-74.
[11] Ibid, 62.
[12] Ibid.
[13] Masaki Kondo, “Unfolding the In-between Image: The Emergence of an Incipient Image at the Intersection of Still and Moving Images,” Contemporaneity: Historical Presence in Visual Culture 3 (June 5, 2014): 50–61, https://doi.org/10.5195/contemp.2014.80.
[14] Gilles Deleuze, Cinema 1: The Moving Image, trans. Hugh Tomlinson and Barbara Habberjam (Minneapolis: University of Minnesota, 1986), 2.
[15] Ibid.
[16] Ibid, 1.
[17] Ibid.
[18] Kate Gleeson and Hannah Frith, “(De)Constructing Body Image,” Journal of Health Psychology 11, no. 1 (January 2006): 79–90, https://doi.org/10.1177/1359105306058851.
[19] Dewantu Dewanti, “Semiotic Analysis of Ferdinand de Saussure’s Structuralism on ‘Energen Green Bean’ Advertisement,” Social Science Research Network (Rochester, NY, June 21, 2023), https://doi.org/10.2139/ssrn.4487450.
[20] Jesse M. Bering, “Why Hell Is Other People: Distinctively Human Psychological Suffering,” Review of General Psychology 12, no. 1 (March 2008): 1–8, https://doi.org/10.1037/1089-2680.12.1.1.
[21] Kevin Aho, “Existentialism,” ed. Edward N. Zalta and Uri Nodelman, Stanford Encyclopedia of Philosophy (Metaphysics Research Lab, Stanford University, 2023), https://plato.stanford.edu/entries/existentialism/#SelfRecoSartBeau.
[22] Vernon W Cisney and Nicolae Morar, Biopower (University of Chicago Press, 2015), 3-6.
[23] Rebecca Coleman, “The Becoming of Bodies,” Feminist Media Studies 8, no. 2 (June 2008): 163–79, https://doi.org/10.1080/14680770801980547.
[24] “Eadweard J. Muybridge | MoMA,” The Museum of Modern Art, n.d., https://www.moma.org/artists/4192.
[25] Bruce Nauman, Poke in the Eye/Nose/Ear, 1994, Video, 1994, New York, Artists Rights Society, https://moma.tumblr.com/post/180894695917/bruce-nauman-poke-in-the-eyenoseear-3894-edit.
[26] Mike Featherstone, “Body, Image and Affect in Consumer Culture,” Body & Society 16, no. 1 (March 2010): 193–221, https://doi.org/10.1177/1357034×09354357.
[27] Brian Massumi, Parables for the Virtual: Movement, Affect, Sensation (Durham, NC: Duke University Press, 2002).
[28] Gilles Deleuze and Félix Guattari, A Thousand Plateaus : Capitalism and Schizophrenia, trans. Brian Massumi (Minneapolis: University Of Minnesota Press, 1987), 255.
[29] Brian Massumi, Parables for the Virtual: Movement, Affect, Sensation (Durham, NC: Duke University Press, 2002), 51-55.
[31] Bruce Nauman, Bruce Nauman: “Poke in the Eye/Nose/Ear” | Art21 “Extended Play,” interview by Art21, 2013, https://www.youtube.com/watch?v=kaR_gffVu1g.
[32] Rebecca Coleman, “The Becoming of Bodies,” Feminist Media Studies 8, no. 2 (June 2008): 163–79, https://doi.org/10.1080/14680770801980547.
[33] Ibid.
[34] G. W. F. Hegel, Hegel: The Phenomenology of Spirit, trans. Michael J Inwood (Oxford: Oxford University Press, 2018), 76-82.
[35] Bernard Stiegler, Technics and Time 1: The Fault of Epimetheus, trans. George Collins (Redwood City: Stanford University Press, 1998).
[36] Martin Heidegger, Being and Time, trans. Joan Stambaugh (Albany: State University Of New York Press, 2010).
[i] Indeed, some scholars in the field of Cultural Studies like Raymond Williams and Stuart Hall argue that the decoding process is controlled by the consumers themselves, and thus, they are able to conceive their own meanings, which leads to the disfunction of such one-direction manipulation.
[ii] I define it as “sometimes” is because I would argue that there is a huge difference between contributors (for instance, volunteers translating and making subtitles for foreign TV shows and movies) argued by Bernard Stigler and influencers shown on video platforms.
[iii] I do not intend to say that all content uploaders are doing this to make money. I firmly believe that media technologies and platforms can be used for creative, revolutionary, and avant-garde creation, and what I write here is only a possible way of interpreting this phenomenon.
[iv] Indeed, a clarification between cinema and moving image is needed because cinemas and moving images like videos are played in fundamentally different environments and spaces.
[v] There are a bunch of philosophers who have talked about this problem, and Plato and Descartes are merely two names often mentioned in this kind of discussion. Besides, from my perspective, Plato and Descartes, especially the latter, should be treated with care because Descartes influences people we often reference and cite.
[vi] This is still an undefined term. I use this word to refer to the art created from Expressionism to Abstract Expressionism but excluding Dadaism.
[vii] Of course, the vanishment itself could be an artistic concept.