Masterarbeit, 2021, CC BY-NC-ND 4.0 International Abstract The phantasmagoria was a multimedia projection show with animated visuals from the end of the 18th until the end of the 19th century, having developed from the magic lantern’s projection culture. The phantasmagoric, here, functions as an umbrella term for the examined dispositif on the part of the production and of the audience: the medium, the audio-visual representation, the (human) agency – all these in their particular space and time and in their interplay and mutual reaction, in a certain context, loaded with certain meanings, as an ideological agenda of established and sustained cultural convictions. Theories concerning the production and reception of ‘illusions’ have already been developed by various philosophers throughout the centuries, and have later been supplemented with notions on the uncanny by social scientists, psychologists, and neuroscientists. It is the main goal of this thesis to approach the uncanny via the phantasmagoric dispositif. In the first part, I will introduce to the main topics’ theories of my thesis: a variation of media theoretical discussions on the cinematic and the phantasmagoric dispositif. In the second part, I will present the history of the phantasmagoria, its predecessors, and further theory: some philosophical thoughts on perception and illusion, on the uncanny, and some theories of the affiliation to uncanny media content. In the third part I will present the phantasmagoric dispositif, analyse the motivations and ideologies of the production dispositif, and the modes of reception based on the theories mentioned before. In the fourth part, I will examine the phantasmagoria’s media techniques, their impact on, and possible re-enacting for contemporary media practice. Further, I will define the constitutive elements of the phantasmagoric dispositif. In the fifth chapter, I will scrutinize some suggested examples from the art world, to investigate, if a classification as ‘phantasmagoric’ artworks would be tenable, and if the phantasmagoric dispositif is viable for approaching the uncanny. In the final conclusion I will discuss my primary assumptions, if they proved successful.