Adopting the figural model of film analysis outlined by Nicole Brenez in her reading of early film theorist Jean Epstein, this thesis develops articulations of the early modern Witch, the Virgin Mary, and the antipodean as cinematic figures. These three figures are developed as cinematic as they reproduce the image of the body by automatic means, and as they respectively figure what is between the real and the illusory, sound and image, and the body and its other.
These figurations are related to how film theory has utilised the unconscious to distinguish the lived body of the spectator from the illusory body on screen, and respectively taken to question the theory of the male gaze, the perceived dominance of the image over sound, and the theory of alienation or auto-genesis.