LIST OF ILLUSTRATIONS

1.1 and 1.2	Nana watches Dreyer’s Joan of Arc
1.3 and 1.4	Nana objectifies herself
1.5	Flattened images in Two or Three Things I Know About Her
1.6	The perceptual agency of urban frames
1.7	Objects acting as subjects
1.8–1.10	The legendary galactic coffee cup
1.11–1.13	Juliette Jansen/Marina Vlady
3.1–3.3	Nevers flashes back to her past
3.4	The camera of Hiroshima, mon amour glides through visualized memories
3.5	Nevers’s doubled image, split subject
3.6	Nevers’s desire, Hiroshima’s distance
3.7	X’s voice-over narration becomes dialogue
3.8 and 3.9	Laughter as a sound bridge between possible past and apparent present
3.10	The affective continuity of fear
3.11–3.13	A takes control of verbal narration
4.1–4.2	The imaginary appearances of Nadine
4.3	Diego’s visual prominence in The War Is Over
4.4	Nadine as lover: an ethereal object
4.5	Marianne as lover: a real subject
4.6–4.8	The final dissolve between Diego and Marianne
5.1	Raoul Coutard turns the camera on the audience
5.2	Contempt’s film-within-a-film: Fritz Lang’s The Odyssey
5.3–5.5	A naked Camille looks directly at the camera