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Photoraphy and fetish christian metz

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Added: 16.07.2019
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He refers of course, to the intersection of cinema and photography, often deemed antagonistic. Space results from the expansion of matter in time. It is that materiality which helps to license the notion of the singularity of the textual system—doubly singular because it is uniquely systematic and because it is real, actualized. Its ephemeral quintessence makes it truly an outlier medium, blurring the boundaries between non-stereoscopic photography and cinema, as does its narration. And yet the film itself can be seen as a kind of draft or preliminary study. It is the effect, rather, of a laser or lightning, a sudden and violent illumination on a limited and petrified surface: again the fetish and death.

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Metz, Christian Photography and Fetish

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Metz and film semiotics: Opening the Field | The Cross-Cultural Studies

Photography enjoys a high degree of social recognition in another domain: that of the presumed real, 1 A version of this essay was delivered at a conference on the theory of film and photography at the University of California, Santa Barbara, in May Time therefore is truly the sine qua non of stereoscopic photography, a fact that scholars seem stubbornly resistant to ac- knowledge. On the other hand, it manipulates the codes of the cinematic language system as in part established by other unique textual systems. The film still with its never-ending fascination, 16 mystery and peculiarity evolved into a new art form, that of the collage to which Stezaker has assigned new meanings and shifting possibilities. On the one hand, the textual system, in its very uniqueness, establishes many of the codes of the cinematic language system.
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Unit 1: Photography and Cinema

He refers to the stills' capacity to produce poignant moments of reference in relation to the seen movie. The compromise, more or less spectacular according to the person, consists in making the seen retrospectively unseen by a disavowal of the perception, and in stopping the look, once and for all, on an object, the fetish—generally a piece of clothing or underclothing—which was, with respect to the moment of the primal glance, near, just prior to, the place of the terrifying absence. Harbor, Janet. One last comment regarding the sound of the film.
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Yet in the early s, after almost years of photography and years of cinema, the arrival of digital technology led to a flood of ontological questioning as to the specificity or common ground of both these media. These forms of memory-images take on a life of their own and sometimes approach the symbolic logic of dreams. In all photographs, we have this same act of cutting off a piece of space and time, of keeping it unchanged while the world around continues to change, of making a compromise between conservation and death.
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