By FranCois Albera (Editor), Maria Tortajada (Editor)
Cinema past movie elaborates at the theoretical makes use of of 2 key terms—dispositif and episteme—in order to check their courting in addition to their higher connections to movie, know-how, and modernity. even if either phrases originate within the paintings of Foucault, dispositif (“device”) intrinsically hyperlinks itself to the mechanics of circulation and velocity in the back of cinematics, whereas extra mostly concerning the mechanisms and constructions that carry strength in position. Episteme (“to know”), nonetheless, refers back to the stipulations and probabilities of wisdom and reception, greater than to technological innovation. each one time period is explored the following with regards to the opposite, permitting this edited assortment to evaluate the big choice of power materialities that come up from the mechanics in the back of cinema and the altering face of its expertise.
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Additional resources for Cinema Beyond Film: Media Epistemology in the Modern Era
22 The fact that some are based on mobil ity and others on fixedness is all the more significant as the essential criterion of m odernity is precisely the mobility of the point of view. The spectator's experi ence is shaped in a significantly more m eaningful w ay by the concrete m ove ment im posed on the body b y one or other dispositive than by the perceptive (and not im m ediately analysed) 'm ovem ent' that is attributed to retinal persis tence. When one w ishes to define the subject in relation to her or his experience, the analysis of scientific discourses and theories is no substitute for the concrete phenomenon im posed by the dispositive in its materiality.
Our model analysis of the view in g and listening dispositives is based on these criteria (highlighting especially the view in g dimension). Some exam ples follow below. 1 T h e r e la t io n b e tw e e n th e s p e c ta to r s a nd th e m a c h in e r y 1 . 1 The relation between spectators' bodies and the m achinery —the question of places. a. A lone spectator or group of spectators (magic lantern spectator vs. the stereoscope). b. Mobile or immobile spectators (zoetrope, w here movement is possible vs.
18. 19. 20. 21. 22. François Albera and Maria Tortajada tailed clouds; 2) a rough sea with high, foamy waves; and 3) a strip of land with two moored boats, creating an effect of verticalization of two-thirds of the painting (the sky and the sea), which the perception of the land redistributes in depth because of its initiating place in the foreground and its brownish tonality, which stands out against the whiteness of the foam. Our starting point is Michel Foucault's definition in l ’Archéologie du savoir (Paris: Gallimard, 1976; Archeology of Knowledge, English translation by Alan M.