Iconology at the Movies: Panofsky's Film Theory

Levin, Thomas Y.

doi:10.1353/yale.1996.0008

Cited by 9 publications

(2 citation statements)

References 30 publications

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“…14 For related speculations, also with reference to Beckett, see Harries (2014). 15 For a thorough consideration of Panofsky's essay, as well as an account of its publication history, see Levin (1996).…”

Section: Theatre/mediamentioning

confidence: 99%

Beckett, the proscenium, media

Harries¹

2022

Beckett and Media

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Section: Theatre/mediamentioning

confidence: 99%

Beckett, the proscenium, media

Harries¹

2022

Beckett and Media

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“…But questions of a close nature returned throughout his work, whether in "Original und Faksimilereproduktion," published in 1930, 50 or of course in the text "On the Movies," whose first version came up as a lecture in 1936. 51 Today, all those complex, heterogeneous and proliferating interrogations are often considered through the sole contribution of Walter Benjamin, "Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit." Composed in several versions between 1935 and 1938, the essay was published at the time only in the French version resulting from a collaboration between Benjamin and Pierre Klossowski, under the title "L'OEuvre d'art à l'époque de sa reproduction mécanisée" [The Work of Art in the Age of Its Mechanized Reproduction].…”

Section: Between France and Germany: Benjamin And Aroundmentioning

confidence: 99%

Toward an Archaeology of the Cinema/ Technology Relation: From Mechanization to “Digital Cinema”

Turquety¹

2014

Technè/Technology

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Benoît Turquety"The Last Machine?": The Digital Age and the 1930sConsidering the historiography of the cinema from the outsidethat is, re-establishing it within the context of the social sciences of the timestrange coincidences emerge.As is well known, the history of the cinematic medium has established itself from the very beginning as a technological history. The reasons for this fact are numerous and complex: from patents and their economicor patrioticimplications, to the pedagogy of the mechanisms of the illusion to the curious. In any case, all the historical essays on moving pictures published between 1895 and around 1925 conceive their task as the description of the evolution of the machines, and the historical-ideological determination of the important innovations. The history of the medium began to be conceived differently when it began to be perceived as an art form, a transformation that can already be sensed in Terry Ramsaye's book of 1926, and is completed in Paul Rotha's 1930 volume and Bardèche and Brasillach's 1935 history of film. 2 But in fact, during that time, the history of technology as a discipline was not yet founded. Its project was constructed precisely during these early 1930s. So there seems to be an odd historical delay or missed beat between the evolutions of the history of cinema and of the history of technology, the first being technologically oriented before the second emerged, and then turning away from the machines. A strange coincidence.Actually, the 1930s emerges as a crucial moment regarding the general presence of technology in culture. It was a time when technology entered the sciences as a major theme, in nearly all disciplines. So how come historians of cinema lost interest in technology precisely at the moment when technology caught the attention of other historians, philosophers, scientists, etc.?These coincidences raise a number of questions, and particularly that of the existence and nature of a link, in the 1920s and 1930s culture and sciences, be-

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The Film Industry and Fiction

Cartmell¹

2010

The Encyclopedia of Twentieth‐Century Fiction

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The most obvious manifestation of the coming together of fiction and the film industry is in the film adaptation of a literary work. From its very beginnings, film turned to literature for both stylistic features and for actual stories, which led to big box office returns but received few artistic or academic plaudits. Prominent among the very first films were adaptations of literature, such asKing John(1899),Alladin and the Wonderful Lamp(1900),Scrooge; or, Marley's Ghost(1901),Mother Goose Nursery Rhymes(1902), andUncle Tom's Cabin(1903). However, the film industry's reliance on literature was seen by many as a major weakness. On the whole, cineastes in the first half of the twentieth century were deeply suspicious of film adaptations of literature (or the narrative film). It was felt that films, rather than borrowing – or desecrating – wholesale narratives, should not copy, but should extend and translate narrative and other literary devices. For example, Sergei Eisenstein, in his often quoted essay, “Dickens, Griffith, and the Film Today,” demonstrates the indebtedness of D. W. Griffith to Dickens in the director's use of “optical quality,” “frame composition,” “close‐up,” and “the alteration of emphasis by special lenses” (213).

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Iconology at the Movies: Panofsky's Film Theory

Cited by 9 publications

References 30 publications

Beckett, the proscenium, media

Beckett, the proscenium, media

Toward an Archaeology of the Cinema/ Technology Relation: From Mechanization to “Digital Cinema”

The Film Industry and Fiction

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