In Death 24 x a Second, Laura Mulvey addresses some of the key questions of film theory, spectatorship and narrative New media technologies, such as video and DVD, have transformed the way we experience film, and the viewers relationship to film image and cinemas narrative structure has also been fundamentally altered These technologies give viewers the means to control both image and story, so that films produced to be seen collectively and followed in a linear fashion may be found to contain unexpected (even unintended) pleasures The tension between the still frame and the moving image coincides with the cinemas capacity to capture the appearance of life and preserve it after death Mulvey proposes that with the arrival of new technologies and new ways of experiencing the cinematic image, films hidden stillness comes to the fore, thereby acquiring a new accessibility and visibility The individual frame, the projected films bestkept secret, can now be revealed, by anyone, at the simple touch of a button As Mulvey argues, easy access to repetition, slow motion and the freezeframe may well shift the spectators pleasure to a fetishistic rather than a voyeuristic investment in the cinematic object The manipulation of the cinematic image by the viewer also makes visible cinemas material and aesthetic attributes By exploring how new technologies can give new life to old cinema, Death 24 x a Second offers an original reevaluation of films history and also its historical usefulness