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RSSI. Recherches sémiotiques. Semiotic inquiry最新文献

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Motion/Performance Capture and The Afterlife of The Index. A Reconsideration of André Bazin’s “Myth of Total Cinema” 动作/动作捕捉和索引的来世。再论安德烈•巴赞的“全面电影神话”
RSSI. Recherches sémiotiques. Semiotic inquiry Pub Date : 2014-11-20 DOI: 10.7202/1027446AR
M. Grosoli
{"title":"Motion/Performance Capture and The Afterlife of The Index. A Reconsideration of André Bazin’s “Myth of Total Cinema”","authors":"M. Grosoli","doi":"10.7202/1027446AR","DOIUrl":"https://doi.org/10.7202/1027446AR","url":null,"abstract":"The history of film technology is not a progressive and linear march towards the future : it is rather a discontinuous, irregular process where the past returns more often than not. Motion capture and performance capture technologies are particularly indicative examples of this dynamic, as their digital nature is far from opposed to the indexical bias of photography that (according to a widespread doxa) the digital is supposed to gradually supplant. On the contrary, they integrate the index in their own functioning. Moreover, some of the films making use of these devices (for instance Robert Zemeckis’s A Christmas Carol) seem to allegorize this very paradox. Andre Bazin has often been believed to advocate for a teleological view of history (and of the history of film technology) just because of his idealism. In fact, a close re-reading his writings, particularly of his “Myth of Total Cinema”, shows that his idealism works as an “antidote” against teleological presuppositions.","PeriodicalId":191586,"journal":{"name":"RSSI. Recherches sémiotiques. Semiotic inquiry","volume":"108 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122725786","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The Passion of the Digital: the Ontology of the Photographic Image in the Age of New Media 数字的激情:新媒体时代摄影图像的本体
RSSI. Recherches sémiotiques. Semiotic inquiry Pub Date : 2014-11-20 DOI: 10.7202/1027447AR
A. Basu
{"title":"The Passion of the Digital: the Ontology of the Photographic Image in the Age of New Media","authors":"A. Basu","doi":"10.7202/1027447AR","DOIUrl":"https://doi.org/10.7202/1027447AR","url":null,"abstract":"Using Mel Gibson’s 2004 film and cultural phenomenon The Passion of the Christ as a launching pad, this essay meditates on some questions about the twentieth century legacy of competing realisms, the graphic imperative of contemporary digital image cultures, and the ontological conundrums involving technology and mass media. Passion is an onto-theological filmic ‘event’ that derives equally from an almighty religiosity as well as a cultish process of being enraptured by certain ritual values of a new-age technologism of sound and image. This endographic writing out of the Gospel narrative at the level of the tissue and nerve of the committed viewer affirms a transcendental truth already there in an internal cosmos of belief instead of working in terms of an externally navigable ‘realist’ representation of the world that seeks to ‘bear away our faith’. This is rendered possible when unquestioning belief in Christ and in his momentous sacrifice is met by an embracing of technology without the skepticism of a scientific temper.","PeriodicalId":191586,"journal":{"name":"RSSI. Recherches sémiotiques. Semiotic inquiry","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130352867","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 7
Retrograde Technicity and the Cinematic Avant-Garde: Towards a New Dispositif of Production 逆行技术与电影先锋派:走向一种新的生产方式
RSSI. Recherches sémiotiques. Semiotic inquiry Pub Date : 2014-11-20 DOI: 10.7202/1027442AR
Gabriele Jutz
{"title":"Retrograde Technicity and the Cinematic Avant-Garde: Towards a New Dispositif of Production","authors":"Gabriele Jutz","doi":"10.7202/1027442AR","DOIUrl":"https://doi.org/10.7202/1027442AR","url":null,"abstract":"Taking as a point of departure the 1970s concept of the ‘dispositif’, this article seeks to redefine it in the context of experimental cinematic practices which reject the usual tools of filmmaking, or, more precisely, replace them by ‘retrograde’ technical means (such as handmade techniques, camera-less films, etc.). Instead of adhering to the classical notion of dispositif, which privileges the screening situation, the author rather suggest that we envisage a dispositif of production, involving the spatial relationship between the body of the artist, the ‘pro-filmic’ event and his/her material at the very moment of production, and that informs the practices of cinematic retrograde technicity.","PeriodicalId":191586,"journal":{"name":"RSSI. Recherches sémiotiques. Semiotic inquiry","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129930973","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 5
Pulling Apart the Apparatus 拆解装置
RSSI. Recherches sémiotiques. Semiotic inquiry Pub Date : 2014-11-20 DOI: 10.7202/1027441AR
W. Straw
{"title":"Pulling Apart the Apparatus","authors":"W. Straw","doi":"10.7202/1027441AR","DOIUrl":"https://doi.org/10.7202/1027441AR","url":null,"abstract":"This article responds to a series of questions posed by Francesco Casetti to “Impact” conference panelists dealing with the fate of apparatus theory in film studies. I argue that the unravelling of apparatus theory has been a long, complex process, unfolding over four decades. A well-known feature of this unravelling within English-language film studies has been the assertion that spectators/subjects are not formal products of the functioning of an apparatus, but rather embodied individuals characterized by multiple forms of identity. This assertion has helped to detach the study of film spectatorship from theories of the apparatus, rendering the former more empirical and sociological. At the same time, difficulties in translation have resulted in a confusion, in English-language film scholarship, between the French terms appareil and dispositif, both of which have found themselves translated as “apparatus”. Drawing on the writings of Agamben and Vouilloux, I show how a key problem in apparatus theory is the extent to which the forces shaping spectator identity are themselves part of an apparatus or might be seen as external to the latter and as historical variables with which an apparatus interacts.","PeriodicalId":191586,"journal":{"name":"RSSI. Recherches sémiotiques. Semiotic inquiry","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130531279","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
Cinema, the (Digital) Machine of the Imaginary: Revisiting Edgar Morin in the Quest to Create a Theory of Cinema in the Digital Age 电影，想象的(数字)机器:重新审视埃德加·莫林在数字时代创造电影理论的探索
RSSI. Recherches sémiotiques. Semiotic inquiry Pub Date : 2014-11-20 DOI: 10.7202/1027448AR
Diana Wade
{"title":"Cinema, the (Digital) Machine of the Imaginary: Revisiting Edgar Morin in the Quest to Create a Theory of Cinema in the Digital Age","authors":"Diana Wade","doi":"10.7202/1027448AR","DOIUrl":"https://doi.org/10.7202/1027448AR","url":null,"abstract":"Digital image technology facilitates the production and distribution of images, and at the same time, instills doubt as to the integrity of those images. As a result, spectators today trust and doubt the image while still retaining a need to see a double of the world on screen. Edgar Morin’s work on cinema permits us to speak of cinema in the digital age because he recognizes that from its origins cinema has been a “mirror-machine” that reflects the spectator’s imaginary and practical relationship with images as experienced through new technologies. I will explore Morin and Christian Metz’s writings on cinema to analyze cinema’s foundational element : the ability to satisfy the besoin de cinema throughout changes in technology. Cinema persists as digital moving images because by evolving technologically it responds to the spectator’s need to see a double of the world on screen in order to negotiate the demands of society and personal desires.","PeriodicalId":191586,"journal":{"name":"RSSI. Recherches sémiotiques. Semiotic inquiry","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123770921","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
What Is Left of the Cinematic Apparatus, or Why We Should Retain (and Return to) It 电影装置还剩下什么，为什么我们应该保留(并回归)它
RSSI. Recherches sémiotiques. Semiotic inquiry Pub Date : 2014-11-20 DOI: 10.7202/1027439AR
T. Elsaesser
{"title":"What Is Left of the Cinematic Apparatus, or Why We Should Retain (and Return to) It","authors":"T. Elsaesser","doi":"10.7202/1027439AR","DOIUrl":"https://doi.org/10.7202/1027439AR","url":null,"abstract":"In this essay I shall briefly summarize what it was about the original formulation of the cinematic apparatus that seemed crucial; what were subsequently perceived to be its shortcomings; how in my own media-archaeological approach I have tried to extend as well as to relativize/historicise the model of the apparatus/dispositif; and finally, what avenues I see for invigorating the theoretical challenges apparatus theory still poses, now in the context of viewing situations that either pastiche and inflate the original paradigm or completely bypass or ignore it.","PeriodicalId":191586,"journal":{"name":"RSSI. Recherches sémiotiques. Semiotic inquiry","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121256582","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 8
Technique/Discourse: When Bergson Invented His Cinematograph 技术/话语:当柏格森发明了他的电影摄影术
RSSI. Recherches sémiotiques. Semiotic inquiry Pub Date : 2014-11-20 DOI: 10.7202/1027445AR
Maria Tortajada
{"title":"Technique/Discourse: When Bergson Invented His Cinematograph","authors":"Maria Tortajada","doi":"10.7202/1027445AR","DOIUrl":"https://doi.org/10.7202/1027445AR","url":null,"abstract":"The “cinematographic model of thought” was developed by Bergson in Creative Evolution (1907) after his 1902-1903 lectures at the College de France. His appropriation of this device of modernity certainly didn't go unnoticed. Throughout the twentieth century, Bergsonian discourse produced frequently opposing positions on the cinema, making it necessary for the film historian to question the status of Bergson’s cinematographic dispositive. This dispositive, which strictly belongs to philosophical discourse, refers to equipment and procedures whose mechanism is quite recognizable and isn’t solely confined to the device invented by Lumiere. Scholars thus need to confront the technical dimension of this dispositive if they are to examine its very singular character. What makes Bergson’s dispositive technical? How does the shift occur from the technical reference to its appropriation by discourse in demonstrative strategies that transform its value? Starting from this case study, this article seeks to address the following question as directly as possible : what does technique become once it enters (philosophical) discourse? Borrowing from the history of techniques outside the specialized literature on cinema, the article also attempts to redefine the web of relations between discourse and technical fact. Finally, it raises the issue of what may be called a user discourse with respect to specialized discourse, emphasizing the predisposition of any discourse for an osmosis of concepts which the epistemology of viewing dispositives can account for.","PeriodicalId":191586,"journal":{"name":"RSSI. Recherches sémiotiques. Semiotic inquiry","volume":"150 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116364976","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
Recadrages: Pour une pragmatique historique du dispositif cinématographique 重构:电影装置的历史实用主义
RSSI. Recherches sémiotiques. Semiotic inquiry Pub Date : 2014-11-20 DOI: 10.7202/1027438AR
F. Kessler
{"title":"Recadrages: Pour une pragmatique historique du dispositif cinématographique","authors":"F. Kessler","doi":"10.7202/1027438AR","DOIUrl":"https://doi.org/10.7202/1027438AR","url":null,"abstract":"Le present article propose une re-interpretation du concept de “dispositif” dans une perspective de pragmatique historique. Partant du constat d’un retour sur la scene theorique de cette notion depuis une quinzaine d’annees, l’auteur discute d’abord les difficultes de traduction et de transposition du terme dans des langues autres que le Francais, pour ensuite se pencher sur la maniere dont la notion est conceptualisee chez, d’un cote, Michel Foucault, puis chez Jean-Louis Baudry. Il propose par la suite de concevoir la notion de dispositif comme un outil heuristique permettant de comprendre les medias en tenant compte des usages qu’on en fait et de leur historicite.","PeriodicalId":191586,"journal":{"name":"RSSI. Recherches sémiotiques. Semiotic inquiry","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130693804","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 6
The Cinema of Exposure: Spiritualist Exposés, Technology, and the Dispositif of Early Cinema 暴露的电影:精神主义的暴露，技术和早期电影的配置
RSSI. Recherches sémiotiques. Semiotic inquiry Pub Date : 2014-11-20 DOI: 10.7202/1027444AR
Simone Natale
{"title":"The Cinema of Exposure: Spiritualist Exposés, Technology, and the Dispositif of Early Cinema","authors":"Simone Natale","doi":"10.7202/1027444AR","DOIUrl":"https://doi.org/10.7202/1027444AR","url":null,"abstract":"This article addresses the relationship between early cinema and the tradition of spiritualist exposes. The latter were spectacular shows performed by stage magicians in the nineteenth and early twentieth century, which aimed to debunk the tricks employed by spiritualist mediums in their seances. Drawing on the theoretical framework of the dispositif, this article shows how early cinema renewed and reinterpreted the tradition of the exposes. Focusing in particular on Hugo Munsterberg’s work, moreover, it addresses the connections between early film theory and psychological studies that debunked the illusions performed in spiritualist seances and stage magic. In the conclusion, the article proposes to employ the concept of “cinema of exposure” in order to address how early cinema invited spectators to acknowledge their own perceptual delusion.","PeriodicalId":191586,"journal":{"name":"RSSI. Recherches sémiotiques. Semiotic inquiry","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129052808","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 3
One of Us? From Bad Taste to Empathy. Otherness in Contemporary Hollywood Movies 我们中的一个?从坏品味到同理心。当代好莱坞电影中的差异性
RSSI. Recherches sémiotiques. Semiotic inquiry Pub Date : 2014-07-15 DOI: 10.7202/1025923AR
Adrienne Boutang
{"title":"One of Us? From Bad Taste to Empathy. Otherness in Contemporary Hollywood Movies","authors":"Adrienne Boutang","doi":"10.7202/1025923AR","DOIUrl":"https://doi.org/10.7202/1025923AR","url":null,"abstract":"This article aims to examine the way contemporary Hollywood cinema deals with the topic and the visual representation of disability. Its goal is to highlight the way social recognition of vulnerability and the requisite sensitivity involved in dealing with vulnerable bodies, have influenced recent “gross-out” comedies. In a way that is very different from the famous drama Freaks, recent comedies take into account the fine line between normality and difference, and use disability as a comic trick to question the viewer’s automatic responses to physical difference. Thus, what at first appears to be bad taste, both on an aesthetic and on an ethical level, turns out to be a clever attempt to get past the boundaries between normality and disability, and present vulnerability as a universal condition. The use of gross-out humor, and of vulgar body genres, therefore works as a trigger, calculated to disrupt boundaries and challenge classical representations of physical otherness.","PeriodicalId":191586,"journal":{"name":"RSSI. Recherches sémiotiques. Semiotic inquiry","volume":"176 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124531754","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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