{"title":"“To Become a Devil”: Special Effects, Magic Tricks, and the Technological Image in Faust","authors":"Amanda Shubert","doi":"10.3998/fc.5693","DOIUrl":null,"url":null,"abstract":"This essay argues that F.W. Murnau’s Faust (1926) advances a philosophy of film as a medium for “technological images”—images that are technologically constructed special effects such as double exposure and substitution splice. By portraying Mephistopheles as a conjurer, the film explores cinema’s place in the history of visual and technological magic.","PeriodicalId":0,"journal":{"name":"","volume":"2 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.3998/fc.5693","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
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Abstract
This essay argues that F.W. Murnau’s Faust (1926) advances a philosophy of film as a medium for “technological images”—images that are technologically constructed special effects such as double exposure and substitution splice. By portraying Mephistopheles as a conjurer, the film explores cinema’s place in the history of visual and technological magic.
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