Download Eye of the Century: Film, Experience, Modernity by Francesco Casetti PDF

By Francesco Casetti

Is it actual that movie within the 20th century experimented with imaginative and prescient greater than the other paintings shape? And what visions did it privilege? during this terrific e-book, acclaimed movie student Francesco Casetti situates the cinematic adventure inside of discourses of twentieth-century modernity. He means that movie outlined a distinct gaze, not just since it recorded some of the century's most crucial occasions, but in addition since it made up our minds the style within which they have been received.

Casetti starts off via studying film's nature as a medium in an age keen about immediacy, nearness, and accessibility. He considers the myths and rituals cinema developed at the monitor and within the theater and the way they supplied new pictures and behaviors that answered to rising matters, principles, and social orders. movie additionally succeeded in negotiating different wishes of modernity, evaluating and uniting conflicting stimuli, delivering solutions in a global torn aside by way of clash, and gratifying a wish for everydayness, in addition to lightness, in people's lives. the facility to speak, the facility to notify, and the means to negotiate-these are the 3 elements that outlined film's functionality and outlook and made the medium a appropriate and important paintings type of its time.

So what sort of gaze did movie create? movie cultivated a private gaze, in detail tied to the emergence of viewpoint, but additionally in a position to restoration the immediacy of the true; a fancy gaze, within which truth and mind's eye have been mixed; a piercing gaze, accomplished by means of laptop, and but deeply anthropomorphic; an excited gaze, wealthy in perceptive stimuli, but in addition responsive to the spectator's orientation; and an immersive gaze, which gave the look of being contained in the visible global whereas additionally protecting a feeling of distance. every one of those gazes mixed diverse features and balanced them. the end result was once an ever creative synthesis that strived to lead to real compromises with out ever sacrificing the complexity of contradiction. As Casetti demonstrates, movie proposed a imaginative and prescient that, in making opposites permeable, modeled itself on an oxymoronic precept. during this feel, movie is the major to examining and realizing the trendy experience.

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Eye of the Century: Film, Experience, Modernity

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Extra info for Eye of the Century: Film, Experience, Modernity

Sample text

In this “auto-regulation,” film finds a point of equilibrium, claims it, and puts it into view. 50 Thus, a negotiation takes place during a filmic text’s preparation and consumption, sometimes in the name of compromise, sometimes under the weight of exasperation. This negotiation accompanies a rewriting of the drives that run through the social space maintained by the film, demanding that—in accompanying this work—they nourish and feed on it, too. There is, in fact, a total complicity between film’s attempt to “give form” to what it encounters, and its ability to “negotiate” among the different forces and counterforces enveloping it.

The conclusion is unavoidable: “Film notices, conserves, advises. ” Delluc again offers a useful starting point to widen our frame. In the game that he describes, we see how film is situated before two possibilities: it can pursue libertinism (perhaps seasoned with an “almost cubist brusqueness” that gives the body further plastic starkness), or it can bring the representation of nudity back to more classical standards (thanks to the filmic image’s power to transform what it captures). The two paths subtly conflict: one can lead to pornography, the other risks becoming abstraction.

Nudity is photogenic: and the photogeneity redeems and exalts. Next, because film tolerates neither the immediate nor the excessive: it has internal measure. In this regard, it is interesting to note how actors learn from watching their own images on the screen: “The first films in which women, such as Francesca Bertini, showed their arms and breasts were awful films. Nevertheless, the physical beauty of the performer appeared as genuine—at least—as it does now. ” The conclusion is unavoidable: “Film notices, conserves, advises.

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