FranCois Albera (Editor), Maria Tortajada (Editor)'s Cinema Beyond Film: Media Epistemology in the Modern Era PDF

By FranCois Albera (Editor), Maria Tortajada (Editor)

Cinema past movie elaborates at the theoretical makes use of of 2 key terms—dispositif and episteme—in order to envision their courting in addition to their higher connections to movie, expertise, and modernity. even though either phrases originate within the paintings of Foucault, dispositif (“device”) intrinsically hyperlinks itself to the mechanics of flow and velocity in the back of cinematics, whereas extra in most cases relating the mechanisms and buildings that carry energy in position. Episteme (“to know”), however, refers back to the stipulations and chances of wisdom and reception, greater than to technological innovation. each one time period is explored the following in terms of the opposite, permitting this edited assortment to evaluate the big variety of capability materialities that come up from the mechanics at the back of cinema and the altering face of its expertise.

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The scientific discourses of inventors, engineers and popularisers; 2. ; 3. ); 4. literary discourses that produce variations of the dispositive w ithin an im a­ ginary w orld (Verne, Villiers de l'lsle Adam , Jarry, Apollinaire, Roussel); 5. e. Melies). We aim to identify the different view in g dispositives in these discourses, w hat­ ever their nature (and not only those dealing w ith cinem atography in the strict sense of the term) and thus pinpoint the constituents of the epistemic schema to w hich cinema in its various forms contributes as a singular historical disposi­ tive.

It is thus possible to envisage describ­ ing some aspects of dispositives b y only dealing w ith the relation between spec­ tator and machinery. This is the case, for example, w hen one isolates a criterion such as spectator movem ent or imm obility in reception mode. Hence the useful­ ness of the model, w hich ideally evinces the m aximum number of the diverse aspects that define the dispositives. One m ay study the dispositive as a means of determining each relevant level. One exam ple is machinery, w here one w ill examine the specification of the m a­ chine (if it exists, of course), describe ho w it w orks and functions; the type of support used for the representation must be defined - whether on paper, by projection, by means of the actor's body in the theatre, for instance, or by means of an effigy such as a w ax or stone statue or a mannequin.

A. Action taken on the machinery to produce the image. b. 'Action' in the form of a sim ple m ovem ent in, or in relation to, the m achinery and representation. c. N o action is taken other than perception. 3 T h e r e la t io n b e tw e e n th e s p e c ta to r s a nd th e r e p r e s e n ta tio n This part includes questions of cognition — deciphering and decoding visual signs - and the specification of the spectators' various system s of beliefs in rela­ tion to the aesthetic choices im plied by the 'techniques' of the representation.

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