TAILIEUCHUNG - ANDRE BAZIN FROM WHAT IS CINEMA? THE ONTOLOGY OF THE PHOTOGRAPHIC IMAGE

One problem with this teaching demonstration, however, was the fact that the 16mm print of Caligari had no musical soundtrack, something that the stu- dents had become accustomed to having with their silent films during the semes- ter. This factor would ultimately lead to subsequent demonstrations testing the notion of whether modern electronic music could be used to enhance student engagement with silent films in the classroom. I decided to fill the silence of the Caligari print by synching up a CD during the screening (a senior colleague at another institution occasionally played jazz albums in such a situation). . | ANDRE BAZIN FROM WHAT IS CINEMA THE ONTOLOGY OF THE PHOTOGRAPHIC IMAGE If the plastic arts were put under psychoanalysis the practice of embalming the dead might turn out to be a fundamental factor in their creation. The process might reveal that at the origin of painting and sculpture there lies a mummy complex. The religion of ancient Egypt aimed against death saw survival as depending on the continued existence of the corporeal body. Thus by providing a defense against the passage of time it satisfied a basic psychological need in man for death is but the victory of time. To preserve artificially his bodily appearance is to snatch it from the flow of time to stow it away neatly so to speak in the hold of life. It was natural therefore to keep up appearances in the face of the reality of death by preserving flesh and bone. The first Egyptian statue then was a mummy tanned and petrified in sodium. But pyramids and labyrinthine corridors offered no certain guarantee against ultimate pillage. Other forms of insurance were therefore sought. So near the sarcophagus alongside the corn that was to feed the dead the Egyptians placed terra cotta statuettes as substitute mummies which might replace the bodies if these were destroyed. It is this religious use then that lays bare the primordial function of statuary namely the preservation of life by a representation of life. Another manifestation of the same kind of thing is the arrow-pierced clay bear to be found in prehistoric caves a magic identity-substitute for the living animal that will ensure a successful hunt. The evolution side by side of art and civilization has relieved the plastic arts of their magic role. Louis XIV did not have himself embalmed. He was content to survive in his portrait by Le Brun. Civilization cannot however entirely cast out the bogy of time. It can only sublimate our concern with it to the level of rational thinking. No one believes any longer in the ontological identity of model and image .

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• Aphodiini Dung
• Species Geographic
• Taxonomic Data
• Lecture Automatic control systems technology
• Bài giảng Công nghệ hệ thống điều khiển tự động
• Automatic control systems technology
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• Separately excited DC machine
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• DC motor with series field winding
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• Maternal exposure to chemical fertilizer
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• Units of Measurement
• Plant Instruments
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• Metallic Bellows
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