La cinématographie comme dispositif (du) spectaculaire 1

El Cine Científico en La Argentina De Principios Del Siglo 20: Entre La Educación Y El Espectáculo

“…Operaciones quirúrgicas: educación científica y cine de atracciones Frank Kessler (2003) ha sugerido que los primeros años del cine pueden dividirse en tres etapas caracterizadas por un diferente y particular funcionamiento del dispositivo cinematográfico. En primer lugar, un primer período de novedad tecnológica, determinado por la emergencia del cine como dispositivo espectacular, en el que la reproducción del movimiento y el paradigma de la captación/restitución propios de este medio constituyen la atracción principal del espectáculo fílmico.…”

From Grain to Pixel : The Archival Life of Film in Transition

“…Current debates on the impact of technological change for the medium have produced a broad spectrum of reactions stretching between two perspectives: one that identifies the advent of digital technology as a radical change in the nature of the medium (Rodowick, 2007;Cherchi Usai, 2005;Virilio, 1998;Baudrillard, 1995;Mitchell, 1982, among others), and the other that inscribes digital technology in a broader media landscape where film is one of the participants (Kessler, 2009;Gunning, 2004 and2007-I; Uricchio, 1997Uricchio, , 2003Uricchio, and 2004Thorburn and Jenkins, 2003;Bolter and Grusin, 1999;Manovich, 2001 andElsaesser, 1998, among others). These two perspectives foster opposite interpretations with regard to the role film archives and museums should play in the future.…”

“…113 For a discussion on the truthfulness of photographic as compared to digital reproduction, refer to Mitchell (1982), Manovich (2001) and Kessler (2009). 114 Note that Bazin's theory, from this perspective, is not one that should be ignored, but that should be understood in a context other than its relationship with Peirce's indexicality. In this vein, Gunning rightly points out that "the index might not supply a complete understanding of Bazin's theory of cinematic realism" and that "his theory of cinematic realism depends on a more complex (and less logical) process of spectator involvement."…”

Dispositif(s) et réception 1

“…Dans une telle perspective, il appert que la productivité théorique de la notion du dispositif repose surtout sur la manière dont elle cherche à articuler le fonctionnement de la technologie, le positionnement du spectateur et la forme filmique 14 .…”