Eye Of The Century
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| Author | : Francesco Casetti |
| Publisher | : Columbia University Press |
| Total Pages | : 284 |
| Release | : 2008-05-14 |
| Genre | : Performing Arts |
| ISBN | : 0231511493 |
Is it true that film in the twentieth century experimented with vision more than any other art form? And what visions did it privilege? In this brilliant book, acclaimed film scholar Francesco Casetti situates the cinematic experience within discourses of twentieth-century modernity. He suggests that film defined a unique gaze, not only because it recorded many of the century's most important events, but also because it determined the manner in which they were received. Casetti begins by examining film's nature as a medium in an age obsessed with immediacy, nearness, and accessibility. He considers the myths and rituals cinema constructed on the screen and in the theater and how they provided new images and behaviors that responded to emerging concerns, ideas, and social orders. Film also succeeded in negotiating the different needs of modernity, comparing and uniting conflicting stimuli, providing answers in a world torn apart by conflict, and satisfying a desire for everydayness, as well as lightness, in people's lives. The ability to communicate, the power to inform, and the capacity to negotiate-these are the three factors that defined film's function and outlook and made the medium a relevant and vital art form of its time. So what kind of gaze did film create? Film cultivated a personal gaze, intimately tied to the emergence of point of view, but also able to restore the immediacy of the real; a complex gaze, in which reality and imagination were combined; a piercing gaze, achieved by machine, and yet deeply anthropomorphic; an excited gaze, rich in perceptive stimuli, but also attentive to the spectator's orientation; and an immersive gaze, which gave the impression of being inside the seen world while also maintaining a sense of distance. Each of these gazes combined two different qualities and balanced them. The result was an ever inventive synthesis that strived to bring about true compromises without ever sacrificing the complexity of contradiction. As Casetti demonstrates, film proposed a vision that, in making opposites permeable, modeled itself on an oxymoronic principle. In this sense, film is the key to reading and understanding the modern experience.
| Author | : Philip Core |
| Publisher | : Olympic Marketing Corporation |
| Total Pages | : 189 |
| Release | : 1984-01-01 |
| Genre | : Art |
| ISBN | : 9780136424550 |
| Author | : Alan Thomas |
| Publisher | : Routledge |
| Total Pages | : 335 |
| Release | : 2018-11-01 |
| Genre | : History |
| ISBN | : 0429767781 |
First published in 1978. In this title, Alan Thomas examines the invention of photography in the early nineteenth century. How the members of this first "visual" generation used photography and how it changed their perceptions of the world are the subjects of this lavishly illustrated book. As the author convincingly shows, the camera’s presence was felt nearly everywhere during the course of the nineteenth century. Approaching the subject topically, Thomas surveys the work of the early photographers in terms of its motivation, insights, and impact on society. The book is rounded out with sections on other genres of photography – theatrical, landscape, and social realism – that amply document the far-reaching impact of this phenomenon on nineteenth-century sensibilities.
| Author | : Hanneke Grootenboer |
| Publisher | : University of Chicago Press |
| Total Pages | : 262 |
| Release | : 2013-02-05 |
| Genre | : Art |
| ISBN | : 0226309711 |
The end of the eighteenth century saw the start of a new craze in Europe: tiny portraits of single eyes that were exchanged by lovers or family members. Worn as brooches or pendants, these minuscule eyes served the same emotional need as more conventional mementoes, such as lockets containing a coil of a loved one’s hair. The fashion lasted only a few decades, and by the early 1800s eye miniatures had faded into oblivion. Unearthing these portraits in Treasuring the Gaze, Hanneke Grootenboer proposes that the rage for eye miniatures—and their abrupt disappearance—reveals a knot in the unfolding of the history of vision. Drawing on Alois Riegl, Jean-Luc Nancy, Marcia Pointon, Melanie Klein, and others, Grootenboer unravels this knot, discovering previously unseen patterns of looking and strategies for showing. She shows that eye miniatures portray the subject’s gaze rather than his or her eye, making the recipient of the keepsake an exclusive beholder who is perpetually watched. These treasured portraits always return the looks they receive and, as such, they create a reciprocal mode of viewing that Grootenboer calls intimate vision. Recounting stories about eye miniatures—including the role one played in the scandalous affair of Mrs. Fitzherbert and the Prince of Wales, a portrait of the mesmerizing eye of Lord Byron, and the loss and longing incorporated in crying eye miniatures—Grootenboer shows that intimate vision brings the gaze of another deep into the heart of private experience. With a host of fascinating imagery from this eccentric and mostly forgotten yet deeply private keepsake, Treasuring the Gaze provides new insights into the art of miniature painting and the genre of portraiture.
| Author | : Martin Jay |
| Publisher | : Univ of California Press |
| Total Pages | : 652 |
| Release | : 1993 |
| Genre | : Philosophy |
| ISBN | : 9780520088856 |
Long considered "the noblest of the senses," vision has increasingly come under critical scrutiny by a wide range of thinkers who question its dominance in Western culture. These critics of vision, especially prominent in twentieth-century France, have challenged its allegedly superior capacity to provide access to the world. They have also criticized its supposed complicity with political and social oppression through the promulgation of spectacle and surveillance. Martin Jay turns to this discourse surrounding vision and explores its often contradictory implications in the work of such influential figures as Jean-Paul Sartre, Maurice Merleau-Ponty, Michel Foucault, Jacques Lacan, Louis Althusser, Guy Debord, Luce Irigaray, Emmanuel Levinas, and Jacques Derrida. Jay begins with a discussion of the theory of vision from Plato to Descartes, then considers its role in the French Enlightenment before turning to its status in the culture of modernity. From consideration of French Impressionism to analysis of Georges Bataille and the Surrealists, Roland Barthes's writings on photography, and the film theory of Christian Metz, Jay provides lucid and fair-minded accounts of thinkers and ideas widely known for their difficulty. His book examines the myriad links between the interrogation of vision and the pervasive antihumanist, antimodernist, and counter-enlightenment tenor of much recent French thought. Refusing, however, to defend the dominant visual order, he calls instead for a plurality of "scopic regimes." Certain to generate controversy and discussion throughout the humanities and social sciences, Downcast Eyes will consolidate Jay's reputation as one of today's premier cultural and intellectual historians.
| Author | : Jonathan Crary |
| Publisher | : MIT Press |
| Total Pages | : 190 |
| Release | : 1992-02-25 |
| Genre | : Design |
| ISBN | : 9780262531078 |
Jonathan Crary's Techniques of the Observer provides a dramatically new perspective on the visual culture of the nineteenth century, reassessing problems of both visual modernism and social modernity. This analysis of the historical formation of the observer is a compelling account of the prehistory of the society of the spectacle. In Techniques of the Observer Jonathan Crary provides a dramatically new perspective on the visual culture of the nineteenth century, reassessing problems of both visual modernism and social modernity. Inverting conventional approaches, Crary considers the problem of visuality not through the study of art works and images, but by analyzing the historical construction of the observer. He insists that the problems of vision are inseparable from the operation of social power and examines how, beginning in the 1820s, the observer became the site of new discourses and practices that situated vision within the body as a physiological event. Alongside the sudden appearance of physiological optics, Crary points out, theories and models of "subjective vision" were developed that gave the observer a new autonomy and productivity while simultaneously allowing new forms of control and standardization of vision. Crary examines a range of diverse work in philosophy, in the empirical sciences, and in the elements of an emerging mass visual culture. He discusses at length the significance of optical apparatuses such as the stereoscope and of precinematic devices, detailing how they were the product of new physiological knowledge. He also shows how these forms of mass culture, usually labeled as "realist," were in fact based on abstract models of vision, and he suggests that mimetic or perspectival notions of vision and representation were initially abandoned in the first half of the nineteenth century within a variety of powerful institutions and discourses, well before the modernist painting of the 1870s and 1880s.
| Author | : Michael J. Jarvis |
| Publisher | : UNC Press Books |
| Total Pages | : 703 |
| Release | : 2012-12-01 |
| Genre | : History |
| ISBN | : 0807895881 |
In an exploration of the oceanic connections of the Atlantic world, Michael J. Jarvis recovers a mariner's view of early America as seen through the eyes of Bermuda's seafarers. The first social history of eighteenth-century Bermuda, this book profiles how one especially intensive maritime community capitalized on its position "in the eye of all trade." Jarvis takes readers aboard small Bermudian sloops and follows white and enslaved sailors as they shuttled cargoes between ports, raked salt, harvested timber, salvaged shipwrecks, hunted whales, captured prizes, and smuggled contraband in an expansive maritime sphere spanning Great Britain's North American and Caribbean colonies. In doing so, he shows how humble sailors and seafaring slaves operating small family-owned vessels were significant but underappreciated agents of Atlantic integration. The American Revolution starkly revealed the extent of British America's integration before 1775 as it shattered interregional links that Bermudians had helped to forge. Reliant on North America for food and customers, Bermudians faced disaster at the conflict's start. A bold act of treason enabled islanders to continue trade with their rebellious neighbors and helped them to survive and even prosper in an Atlantic world at war. Ultimately, however, the creation of the United States ended Bermuda's economic independence and doomed the island's maritime economy.
| Author | : Shirley Samuels |
| Publisher | : Rowman & Littlefield |
| Total Pages | : 237 |
| Release | : 2019-11-08 |
| Genre | : Photography |
| ISBN | : 1498573126 |
Race and Vision in the Nineteenth-Century United States is a collection of twelve essays by cultural critics that exposes how fraught relations of identity and race appear through imaging technologies in architecture, scientific discourse, sculpture, photography, painting, music, theater, and, finally, the twenty-first century visual commentary of Kara Walker. Throughout these essays, the racial practices of the nineteenth century are juxtaposed with literary practices involving some of the most prominent writers about race and identity, such as Herman Melville and Harriet Beecher Stowe, as well as the technologies of performance including theater and music. Recent work in critical theories of vision, technology, and the production of ideas about racial discourse has emphasized the inextricability of photography with notions of race and American identity. The collected essays provide a vivid sense of how imagery about race appears in the formative period of the nineteenth-century United States.
| Author | : Olivia Lahs-Gonzales |
| Publisher | : Saint Louis Art Museum |
| Total Pages | : 170 |
| Release | : 1997 |
| Genre | : Art |
| ISBN | : |
From well-known luminaries of the medium such as Arbus, Goldin, Lange, Cunningham, Cindy Sherman and Annie Leibovitz, to far less known figures, this book celebrates the role women have had in shaping photography's vision.
| Author | : Marian Perdue Furman |
| Publisher | : NewSouth Books |
| Total Pages | : 160 |
| Release | : 2015-05-08 |
| Genre | : Photography |
| ISBN | : 158838263X |
Through a Woman's Eye presents an evocative collection of a hundred black and white photographs made by Edith Morgan of Camden, a small town in Wilcox County, Alabama, just after the turn of the twentieth century. Morgan was educated locally before attending the School of the Chicago Art Institute. Subsequently she returned to Camden where she spent the remainder of her life teaching art. She also taught illiterate blacks and whites to read. Thirty years ago, Marian Furman, also of Camden and herself a professional photographer, discovered an album made by Morgan of photographs of her friends, students, and local African Americans. The latter, although somewhat stereotypical of photographs of blacks at the time, are sympathetic; they reveal the humanity of Morgan's subjects. This volume collects Morgan's photographs, along with essays that put them in the context of time and place. Professor Hardy Jackson's essay presents a personal memory. Furman describes socioeconomic and political conditions in Wilcox County and offers biographical information on the Morgan family. Dr. Matthew Mason of Yale's Beinecke Rare Book and Manuscript Library presents additional biographical information and offers a critical assessment of Morgan's photographs, comparing her work to that of contemporary photographers, especially her female peers.
