Moving image culture seems to privilege the instantly identifiable: the recognisable face, the well-timed stunt, the perfectly synchronised line of dialogue. Yet perfect, in-focus visibility does not come naturally to the moving image. Pursuing a range of approaches (from aesthetics to phenomenology to production studies), the authors in this volume actively explore moving images in states of decay, distortion, indistinctness and fragmentation, while drawing upon key theoretical themes including affect, embodiment, visual signification and'legibility'.