it is commonly misconstrued grounded in issues of verisimilitude,.e., what appears to be more realistic. Mary Ann Doane's "The Object of Theory" considers the impending disappearance of the "object" of cinema studies. Lastra accounts for the absurdity of a goats obviously staged fatal fall in Buuels. Serge Daney explores Bazin's obsession with creating a "direct cinema" whose ability to present a seamless "aesthetic illusion of reality" creates "no more cinema." Daney argues that devotion to this aesthetic constitutes a kind of fetishism and that Bazin's notion of cinema becomes a "story. If this were not true we would be speaking about these mediums solely in scientific, rather than aesthetic, terms. This need for illusion he adds is an entirely psychological need, inherently non-aesthetic (5).
Change Mummified ) does so by making a case for understanding Bazin not as a realist but as an idealist, as though the only way to salvage interest in Bazin is to demonstrate the compatibility of his views with the current doxa. The mummy complex is the term he uses to refer to mans preservative instinct mans attempt to ward off the reality of time and death. When cinematic artifice is not concealed by reality effects but revealed and even celebrated as staged rites, it actually contributes to the filmmakers documentary project, deepening its social and cultural significance. Check date values in: date ( help ) Bresnick, Adam (October 13, 2002).
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Subscribe to Questia and enjoy: Full access to this article and over 14 million more from essay correction symbol cells academic journals, magazines, and newspapers. The aesthetic potential of the photographic (and cinematographic) image is tied, for Bazin, to the way it reveals reality. (I will come back to the notion of indexicality in a future post, let me add here though that what makes the photographic object distinct from the referent is precisely its repeatability as an image of the object at moment in its material existence; frozen. By contrast with pseudo-realism, Bazin posits a true realism, which he defines as a need to express the meaning of the world in it concrete aspects and in its essence. Thus, Lastra describes the goats slaughter. Rites of Realism: Essays on Corporeal Cinema. This conjunction (Bazin realism) is also typically the means by which the contemporary theorist qualifies, or more likely disqualifies, a consideration of this term.
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