Christa Blümlinger

This article analyzes the complex and plethoric video artist Mark Lewis and his Willesden Launderette Reverse Dolly Pan Right Friday Prayers (2010), highlighting how he works with cinema theories and devices. The article demonstrates that the paradoxical allusions that Lewis’s work makes toward the ‘classical’ dispositif of cinematic projection shine a light and at the same time challenge cinematic theories and theories of perception.