The Screen Media Reader by Stephen Monteiro

Author:Stephen Monteiro [Monteiro, Stephen]
Language: eng
Format: epub
ISBN: 9781501311697
Barnesnoble:
Publisher: Bloomsbury Academic
Published: 2017-01-12T00:00:00+00:00

Notes

1 [Travail, the process-implying not only “work” in the ordinary sense but as in Freud’s usage: the dream-work.—TR.]

2 [Althusser opposes ideology to knowledge or science. Ideology operates by obfuscating the means by which it is produced. Thus an increase in ideological value is an increase in mystification.—ED.]

3 Obviously we are not speaking here of investment of capital in the process.

4 “We know that the spectator finds it impossible to notice that the images which succeed one another before his eyes were assembled end-to-end, because the projection of film on the screen offers an impression of continuity although the images which compose it are, in reality, distinct, and are differentiated moreover by variations in space and time. “In a film, there can be hundreds, even thousands of cuts and intervals. But if it is shown for specialists who know the art, the spectacle will not be divulged as such. Only an error or lack of competence will permit them to seize, and this is a disagreeable sensation, the changes of time and place of action.” (Pudovkin, “Le Montage” in Cinéma d’aujourd’hui et de demain, [Moscow, 1956].)

5 [Ecriture, in the French, meaning “writing” but also “schematization” at any given level of material or expression.—TR.]

6 [Specular: a notion used by Althusser and above all by Lacan; the word refers to the “mirror” effect which by reflection (specularization) constitutes the object reflected to the viewer and for him. The body is the most important and the first of these objects.—TR.]

7 It is thus first at the level of the apparatus that the cinema functions as a language: inscription of discontinuous elements whose effacement in the relationship instituted among them produces meaning.

8 “In the cinema I am simultaneously in this action and outside of it, in this space and out of this space. Having the power of ubiquity, I am everywhere and nowhere.” Jean Mitry, Esthétique et Psychologie du Cinéma (Paris: Presses Universitaires de France, 1965), p. 179.

9 The cinema manifests in a hallucinatory manner the belief in the omnipotence of thought, described by Freud, which plays so important a role in neurotic defense mechanisms.

10 Husserl, Les Méditations Cartésiennes (Paris: Vrin, 1953), p. 28.

11 Ibid., p. 18.

12 [Apodicity, in phenomenological terminology, indicates something of an ultimately irrefutable nature. See Husserl, op.cit.—TR.]

13 On this point it is true that the camera is revealed as incomplete. But this is only a technical imperfection which, since the birth of cinema, has already in large measure been remedied.

14 Ibid., p. 34, emphasis added.

15 Ibid., p. 40.

16 Ibid., p. 58.

17 Mitry, op.cit., p. 157.

18 The lens, the “objective,” is of course only a particular location of the “subjective.” Marked by the idealist opposition interior/exterior, topologically situated at the point of meeting of the two, it corresponds, one could say, to the empirical organ of the subjective, to the opening, the fault in the organs of meaning, by which the exterior world may penetrate the interior and assume meaning. “It is the interior which commands,” says Bresson. “I know this may seem paradoxical in an art which is all exterior.

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