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Images in movement and images of movement take a central place in iterations of Islamic material and visual piety. Yet the still image remains the default object of inquiry in most studies of devotional visuality. Taking movement rather than stasis as the prerequisite for engagement, many popular decorative items and technologies that share the status of "moving images" evoke the affective experience of pilgrimage. In what follows, close analysis of a repertoire of one such image technology, the lenticular print, formed through its circulation in Pakistan, provides insights into the kind of engagement expected from images whose efficacy is governed by their mobility. By testing the application of some significant theories on the phenomenology of film experience, combined with ways of understanding the forms of presence elicited by virtual pilgrimage, this essay attempts to better grasp the kinds of engagement invited by devotional objects characterized by their evocation of movement. [ABSTRACT FROM AUTHOR]

Anxieties over the particular ontology and materiality of the film image—rather than moral concerns over the co-mingling of bodies in the built and social space of the cinema—have been addressed by two formative figures in the philosophy of Pakistan as a political and religious idea: Muhammad Iqbal and Syed Abul A'la Maududi. Their arguments provide two divergent examples of the ways in which the permissibility of film in Pakistan has been expressed. This essay is driven by such instances in which the epistemology—and in some cases permissibility—of technological objects is negotiated via their very ontology. [ABSTRACT FROM AUTHOR]

An essay is presented on media piracy and archival practices in the context of postcolonial social conditions and art-politics intersections, focusing on film piracy in Pakistan. Topics include the informal economy, the history of the Pakistani film industry from the late 1940s through the 1970s, the failure of the Pakistani government to develop cultural archives, and organized burnings of pirated media held in relation to World Trade Organization (WTO) intellectual property agreements.