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Cover -- Black Screens, White Frames -- Copyright -- Dedication -- Contents -- Acknowledgments -- Fade-in: Introduction. The Filmmaking Machine, Or Thirteen Ways Of Looking At The Black Or White Screen -- Overture -- Intermission -- Movement I: The Flux Of The Field -- Movement Ii: The Filmmaking Machine As An Abstract Art Machine -- Intermission -- Movement Iii: Thirteen Ways Of Looking At The Black Or White Screen -- Finale -- 1. Divergent Darkness: The Black Screen In Early Cinema -- Preface: Deleuze, Virilio, And Early Cinema Magician's Manuals And The Black Screen As Invisible Field: How To Disappear And Not Be Seen -- Cinema's Year Zero And Year Zen: The Black Screen As Frame Breaking And Effacement -- What Happened In The Dark Tunnel Of Cinema? -- 2. Convergent Codes: Fade-ins And Fade-outs As Rational Transitions In Classical Cinema -- The First Level: Frame -- The Second Level: Shot -- The Third Level: Montage -- The Movement-image And The Time-image: Rational And Irrational Cuts -- Fade-ins And Fade-outs As Rational Transitions -- Fade-ins And Fade-outs In Film Practice And Film Theory 3. The Black Or White Screen As A Tool Of Deterritorialization In Modern And Experimental Cinema -- The Genetic And Structural Power Of The Black Or White Screen In Modern Cinema -- A Thousand Point-cuts Of Darkness: The Black Or White Screen In Experimental Film Movements -- Abstract Or Absolute Film -- Lettrism And The Situationist International -- Fluxus -- Structural Film -- Paracinema -- 4. One Chapter Less: The Black Or White Screen In Minor Cinema -- Minor(itarian) Cinema(s): Philm And Blak Screens -- The Indeterminate Coordinates Of Minor Cinema -- The Missing Or Absent People The Any-space-whatevers Of Minor Cinema -- The Black Or White Screen As Stuttering And Elective Mutism -- 5. Folds To Black Or White In Minor Cinema And Art Practice -- White Wall, Black Holes: The Fold, The Enfolding-unfolding Aesthetics, And The Abstract Machine Of Faciality -- Folds To Black