tailieunhanh - AN AESTHETIC OF ASTONISHMENT: EARLY FILM AND THE (IN) CREDULOUS SPECTATOR

The Inuit people live in the arctic region of North America. They are people confined for months in shelters during the long Arctic winter, when it is dark both day and night. With vast stretches of snow and ice reaching to the horizon in every direction, the men would go hunting on long treks alone, not returning home for days or weeks. In their art, the Inuit are impelled to make sense of this being confined and going out, this feeling of being far away, and coming back in to the center. The masks of the Inuit—going as far back as there is any record. | Tom Gunning An Aesthetic of Astonishment Early Film and the In Credulous Spectator Terror in the Aisles The damming of the stream of real life the moment when its flow comes to a standstill makes itself felt as reflux this reflux is astonishment. Walter Benjamin What Is Epic Theatre first version In traditional accounts of the cinema s first audiences one image stands out the terrified reaction of spectators to Lumiere s Arrival of a Train at the Station. According to a variety of historians spectators reared back in their seats or screamed or got up and ran from the auditorium or all three in succession . As with most myths of origin the source for these accounts remains elusive. It does not figure in any report of the first screening at the Salon Indien of the Grand Cafe that I have And as with such myths its ideological uses demand probing as much as its veracity. This panicked and hysterical audience has provided the basis for further myths about the nature of film history and the power of the film image. The first audiences according to this myth were naive encountering this threatening and rampant image with no defenses with no tradition by which to understand it. The absolute novelty of the moving From Art and Text 34 Spring 1989 . Reprinted by permission of the author and Art and Text. The original article was dedicated to Miriam Hansen. 1 14 IB An ArtihrUt AMiwndiinrnl image therefore reduced them to a state usually attributed to savages in their primal encounter with the advanced technology of Western colonialists howling and fleeing in impotent terror before the power of the machine. This audience of the first exhibitions exists outside of the willing suspension of disbelief the immediacy of their terror short-circuiting even disavowal s detour of I know very well . . . but all the same. Credulity overwhelms all else the physical reflex signaling a visual trauma. Thus conceived the myth of initial terror defines film s power as its .

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