:This paper explores a form of corporeal copying which it terms mimetic communication, and explores the way it is not limited to human communication but can and does operates across species. Focusing on the way movement and vision can be seen to be at work in this kind of mimetic communication, the paper argues that it constitutes an important form of affective knowledge about both human and non-human others. Taking the work of early twentieth-century documentary filmmaker Jean Painlevé, who worked (...) extensively with marine creatures, as a case in point, it explores the way in which certain technologies – in this case, cinema – can make use of mimesis as a communicational strategy which comprises the key feature of an aesthetic practice. It examines the implications of this for the way we conceive of affective spectatorship in cinema and for the way we understand our relations with animals, especially as we seek to study them. (shrink)