J. Holt, Platforms, Pipelines, and Politics: The iPhone and Regulatory Hangover, Snickars and Vondereau, pp.140-155

, The Retina display has four times the number of pixels as previous iPhones. See for instance Chris Brandrick

S. Roger-odin, Spectator, Film and the Mobile Phone', in Audiences, p.155, 2012.

, This fake advertisement features on a number of sites. See, for example, <www.youtube.com/watch?v=wKiIroiCvZ0>

O. , Daney's comments are but an extension of his defence of the unique experience that cinema represents (in its traditional format, both as practice and as viewing experience). Serge Daney, 'The Zappeur's Salary', in Cinema And Television: Fifty Years Of Reflection In France, effect, pp.237-261, 1991.

S. J. Aumont, Que reste-t-il du cinéma ?, Trafic, vol.79, pp.95-107, 2011.

R. Bellour, The Cinema Spectator: A Special memory, pp.206-218

. Bellour, Eric De Kuyper, 'L'autre Histoire du Cinéma, ou la perte du spectacle : Qui gagne, qui perd ?' in In the very beginning, at the very end: Film Theories in Perspective, and Bellour, La Querelle des Dispositifs : cinéma -expositions, installations (Paris: P.O.L, 2012), vol.262, pp.66-79, 2000.

&. &apos;le-cinéma and . Godard, On peut voir à la télé l'ombre d'un film, le regret d'un film, la nostalgie, l'écho d'un film, jamais un film, Cinéma zone', in Immemory, 1997.

, La projection vécue d'un film en salle, dans le noir, le temps prescrit d'une séance plus ou moins collective, est devenue et reste la condition d'une expérience unique de perception et de mémoire, définissant son spectateur et que toute situation autre de vision altère plus ou moins. Et cela seul vaut d'être appelé « cinéma, p.14

, By the same token, Bellour rebuffs claims by art historians that cinema's future lies with the galleries and museums, pp.30-37

G. Pedulla, Broad Daylight, p.79, 2012.

S. Thomas-elsaesser, The New Film History as Media Archaeology, Cinémas: Journal of Film Studies, vol.14, pp.75-117, 2004.

, Whereas Bellour's argument posits a precise definition of what the term cinema designates (cinema's identity having become, in the course of time, inseparable from specific conditions of viewing which involve public projection), Casetti and Sampietro's analysis rests on the overlapping use of a set of loosely defined terms (media, cinema, film). See Francesco Casetti and Sara Sampietro, 'With Eyes, with Hands: the Relocation of Cinema into the iPhone

L. Bellour, . Querelle, and . Dispositifs, , pp.14-15

S. Casetti, , p.20

, On this topic, see Vivian Sobchack's 'Nostalgia for a Digital Object: Regrets on the Quickening of Quicktime, See also Lev Manovich, 'Little Movies, vol.34, pp.4-23, 1999.

S. Casetti, , p.28

. Ibid, , pp.26-27

. Bellour, La vision dégradée du film de cinéma, La Querelle des Dispositifs, p.14

, The film can be viewed on: <celluloidremix.openbeelden.nl/media/125755/Untitled>

S. Stewart, On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection, p.46, 1993.

. Stewart, , p.112

B. Stewart and . Bachelard, their respective explorations of the miniature, offer examples drawn from literature as well as painting, including the classic description of Tom Thumb sleeping in his walnut shell, a description that celebrates the beauty of smallness associated with perfect proportions, p.46

L. Bachelard, Poétique de l'espace, p. 154; The Poetics of Space

. Stewart, , p.112

L. U. Marks, The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses, p.169, 2000.

. Marks, , p.169

L. Bachelard, Poétique de l'espace, p. 154; The Poetics of Space, p.166

. Bachelard, The Poetics of Space, pp.165-166

L. Petit, Poucet est chez lui dans l'espace d'une oreille, à l'entrée de la cavité naturelle du son. Il est une oreille dans une oreille. (?) Il s'[y] est installé pour parler bas, c'est-à-dire commander fort, d'une voix que personne n'entend sauf celui qui doit « écouter, p.154

, function as a reprieve -a counterpoint to the sense of powerlessness experienced by one living in the era of global uncertainty. In the following quote, Bachelard, writing in 1957, is talking about philosophy as a discursive practice, and the unattainable ambitions of the metaphysician, rather than discourses of globalization. However, the passage quoted below has a contemporary resonance in the way it emphasizes the exercise of reduction as a form of mastery and as a means to fight the sense of loss one experiences when confronted with the complexity of the world at large: 'In fact, I feel more at home in miniature worlds, which, for me, are dominated worlds. (?) To have experienced miniature sincerely detaches me from the surrounding world, and helps me to resist dissolution of the surrounding atmosphere'. The Poetics of Space, effect, this sense of mastery may well extend to the diegetic world of the film as a whole, and, as such, pp.149-50