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Black Light
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Notes

table of contents
  1. Cover
  2. Half Title Page
  3. Title Page
  4. Copyright Page
  5. Contents
  6. Acknowledgments
  7. Introduction: The Matrix of Photography and Cinema
  8. 1. Photosophia: Visualizing the Racialized Cosmos in the Seventeenth Century
  9. 2. Kinemorphosis: Cosmological Animation and History’s Whiteness
  10. 3. Photoimaging Hieroglyphs: Blackening, Anti-Blackness, and Proto-Photography
  11. 4. Photology: Black Light, the Wave Theory of Light, and Pre-Photography
  12. 5. Selenography: The Moon, Slavery, and the Dark Side of Photography
  13. 6. The Graphic Method: Time-Tracing, Colonial Supremacy, and Astrophotography
  14. 7. Flammarion’s Telechronoscope: The End of Natural History and the Beginning of Cinema
  15. Conclusion: The Matrix of Photocinema and the Moral Universe
  16. Notes — (1 of 2)
  17. Notes — Continued (2 of 2)
  18. Index — (1 of 2)
  19. Index — Continued (2 of 2)
  20. Author Biography

Contents

  1. Acknowledgments
  2. Introduction: The Matrix of Photography and Cinema
  3. Photosophia: Visualizing the Racialized Cosmos in the Seventeenth Century
  4. Kinemorphosis: Cosmological Animation and History’s Whiteness
  5. Photoimaging Hieroglyphs: Blackening, Anti-Blackness, and Proto-Photography
  6. Photology: Black Light, the Wave Theory of Light, and Pre-Photography
  7. Selenography: The Moon, Slavery, and the Dark Side of Photography
  8. The Graphic Method: Time-Tracing, Colonial Supremacy, and Astrophotography
  9. Flammarion’s Telechronoscope: The End of Natural History and the Beginning of Cinema
  10. Conclusion: The Matrix of Photocinema and the Moral Universe
  11. Notes
  12. Index
  13. Author Biography

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This book is freely available in an open access edition thanks to TOME (Toward an Open Monograph Ecosystem)—a collaboration of the Association of American Universities, the Association of University Presses, and the Association of Research Libraries—and the generous support of the College of Liberal Arts at the University of Minnesota, Twin Cities. Learn more at the TOME website, available at openmonographs.org.

Every effort was made to obtain permission to reproduce material in this book. If any proper acknowledgment has not been included here, we encourage copyright holders to notify the publisher.

Portions of chapters 3 and 6 were previously published in a different form in “Kinemorphic Cursives: Self-Imaging and the Non-Mimetic Source of Photoimaging,” Philosophy of Photography 13 (2022): 35–59, https://doi.org/10.1386/pop000381. Portions of chapter 7 were previously published in a different form in “Camille Flammarion’s Flash-Forward: The Cinematicization of French Thought and Aesthetics (1867–1913),” in 1913: The Year of French Modernism, ed. Effie Rentzou and André Benhaïm (Manchester, England: Manchester University Press, 2020); reproduced with permission of Manchester University Press.

Copyright 2026 by the Regents of the University of Minnesota

Black Light: Revealing the Hidden History of Photography and Cinema is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License (CC BY-NC-ND 4.0): https://creativecommons.org/licenses/by-nc-nd/4.0/
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