Table Of Content

. Cinema Beyond Film : Media Epistemology in the Modern Era. : Amsterdam University Press, . p 1 http://site.ebrary.com/id/10459505?ppg=1 Copyright © Amsterdam University Press. . All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted under U.S. or applicable copyright law. 7a956f5ffal0e58167e5f 7b403487001 ebrary Cinema Beyond Film ebrary 7a956f5ffal0e58167e5f7b403487001 ebrary ebrary . Cinema Beyond Film : Media Epistemology in the Modern Era. : Amsterdam University Press, . p 2 http://site.ebrary.com/id/10459505?ppg=2 Copyright © Amsterdam University Press. . All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted under U.S. or applicable copyright law. 7a956f5ffal0e58167e5f 7b403487001 ebrary ebrary 7a956f5ffal0e58167e5f7b403487001 ebrary ebrary . Cinema Beyond Film : Media Epistemology in the Modern Era. : Amsterdam University Press, . p 3 http://site.ebrary.com/id/10459505?ppg=3 Copyright © Amsterdam University Press. . All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted under U.S. or applicable copyright law. Cinema Beyond Film Media Epistemology in the Modern Era Edited by François Albera and Maria Tortajada A m sterd am U niversity Press . Cinema Beyond Film : Media Epistemology in the Modern Era. : Amsterdam University Press, . p 4 http://site.ebrary.com/id/10459505?ppg=4 Copyright © Amsterdam University Press. . All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted under U.S. or applicable copyright law. This publication is made possible by a grant from the Faculté des Lettres de l'Université de Lausanne, Réseau Cinéma CH. Translated by Lance Hewson Front cover illustration: The Zoopraxiscope by Eadweard Muybridge (1893) Back cover illustration: Runner with apparatus for recording speed (Marey). Design: Claire Angelini, Munich Cover design: Kok Korpershoek, Amsterdam Lay-out: japes, Amsterdam ISBN 978 90 8964 083 3 (paperback) ISBN 978 90 8964 084 0 (hardcover) e-ISBN 978 90 4850 807 5 NUR 674 © François Albera and Maria Tortajada / Amsterdam University Press, Amster dam 2010 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. . Cinema Beyond Film : Media Epistemology in the Modern Era. : Amsterdam University Press, . p 5 http://site.ebrary.com/id/10459505?ppg=5 Copyright © Amsterdam University Press. . All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted under U.S. or applicable copyright law. Contents Acknowledgments 7 Introduction to an Epistemology of Viewing and Listening Dispositives 9 François Albera and Maria Tortajada 1 Epistem ology The 1900 Episteme 25 François Albera and Maria Tortajada Projected Cinema (A Hypothesis on the Cinema’s Imagination) 45 François Albera The Case for an Epistemography of Montage 59 The Marey Moment François Albera The ‘Cinematographic Snapshot’ 79 Rereading Etienne-Jules Marey Maria Tortajada The Cinematograph versus Photography, or Cyclists and Time in the Work of Alfred Jarry 97 Maria Tortajada 2 E xh ibition Dynamic Paths of Thought 117 Exhibition Design, Photography and Circulation in the Work of Herbert Bayer Olivier Lagon The Lecture 145 Le Corbusier's Use of the Word, Drawing and Projection Olivier Lugon . Cinema Beyond Film : Media Epistemology in the Modern Era. : Amsterdam University Press, . p 6 http://site.ebrary.com/id/10459505?ppg=6 Copyright © Amsterdam University Press. . All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted under U.S. or applicable copyright law. 6 Films that Work 3 Body and Voice Dancing Dolls and Mechanical Eyes 171 Tracking an Obsessive Motive from Ballet to Cinema Laurent Guido From Broadcast Performance to Virtual Show 193 Television's Tennis Dispositive Laurent Guido The Lecturer, the Image, the Machine and the Audio-Spectator 215 The Voice as a Component Part of Audiovisual Dispositives Alain Boillat On the Singular Status of the Human Voice 233 Tomorrow's Eve and the Cultural Series of Talking Machines Alain Boillat About the Authors 253 Bibliography 255 Index of Names 259 Index of Titles 265 Index of Subjects 269 . Cinema Beyond Film : Media Epistemology in the Modern Era. : Amsterdam University Press, . p 7 http://site.ebrary.com/id/10459505?ppg=7 Copyright © Amsterdam University Press. . All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted under U.S. or applicable copyright law. Acknowledgm ents The editors are grateful to Thomas Elsaesser for making this publishing project possible, and they want to emphasize that the University of Lausanne (UNIL), the Faculty of Humanities of UNIL and the Reseau/Netwerk Cinema CH con tributed to the realization of this project. They thank too the editors at AUP, Jeroen Sondervan and Jaap Wagenaar, for solving problems of any sort. . Cinema Beyond Film : Media Epistemology in the Modern Era. : Amsterdam University Press, . p 8 http://site.ebrary.com/id/10459505?ppg=8 Copyright © Amsterdam University Press. . All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted under U.S. or applicable copyright law. 7a956f5ffal0e58167e5f 7b403487001 ebrary ebrary 7a956f5ffal0e58167e5f7b403487001 ebrary ebrary . Cinema Beyond Film : Media Epistemology in the Modern Era. : Amsterdam University Press, . p 9 http://site.ebrary.com/id/10459505?ppg=9 Copyright © Amsterdam University Press. . All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted under U.S. or applicable copyright law. Introduction to an Epistemology of Viewing and Listening Dispositives François Albera and Maria Tortajada For some years now, scholars working in the History and Aesthetics of the Cin ema Department of the University of Lausanne's Faculté des Lettres have been actively engaged in research and teaching that stems from their belief that, at the present moment in time, one can no longer restrict one's approach to cinema to the narrow field and specific object that were established in the early decades of the 20th century, and that culminated in the semiotics approach of the 1970s. Paradoxically enough, this apotheosis occurred just as the model that in circa 1906 had reflected the independent and specific nature of cinematography and the cinematographic institution was clearly becoming obsolete with the multi plication both of the modes of capturing film (first video, then the DVD, com puters, mobile telephones, etc.) and of audiovisual communication support sys tems and media (in particular television, and more recently the Internet). The 'return' to history on the one hand1 and the historicizing of aesthetics on the other hand - with the latter thereby bypassing an essentialist, ontological approach - are based on a new approach to the archive. They allow the re searcher to widen the field of investigation and examine anew the different questions related to cinematographic 'language' and the problematics of repre sentation — i.e., the practices and theories of viewing and listening which devel oped during the 19th century and were linked to the rapid industrial and tech nological development of western societies. The cinema is one of those instruments that condenses a whole series of distinctive characteristics of indus trial and technological society (serialisation, the division of work, multiplica tion, mechanisation, standardisation, speed, globalization, etc.) - where a whole series of questions converges — from the social to the political, the medical to the ideological, the artistic to the anthropological, etc. Since the middle of last century, it can be said that the field has been broaden ed by the arrival of the 'mass media' and mass communication in their relation to new mediums and media - the focus has moved from television to the Inter net, digital technologies, and further beyond, to the issue of cloning. The key position that cinema occupied in the 1950s has consequently become relati vized, even though its 'model' continues to organise much of the imagination in the shape of the procedures involved in the means of communication and media representation. . Cinema Beyond Film : Media Epistemology in the Modern Era. : Amsterdam University Press, . p 10 http://site.ebrary.com/id/10459505?ppg=10 Copyright © Amsterdam University Press. . All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted under U.S. or applicable copyright law.