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Movie Archaeology

ENGL 6750/7750 Film Studies. Movie Archaeology. ENGL 6750/7750 Film Studies. Movie Archaeology. ENGL 6750/7750 Film Studies. Movie Archaeology. ENGL 6750/7750 Film Studies. Movie Archaeology. ENGL 6750/7750 Film Studies. Movie Archaeology. ENGL 6750/7750 Film Studies. Movie Archaeology.

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Movie Archaeology

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  1. ENGL 6750/7750 Film Studies Movie Archaeology

  2. ENGL 6750/7750 Film Studies Movie Archaeology

  3. ENGL 6750/7750 Film Studies Movie Archaeology

  4. ENGL 6750/7750 Film Studies Movie Archaeology

  5. ENGL 6750/7750 Film Studies Movie Archaeology

  6. ENGL 6750/7750 Film Studies Movie Archaeology

  7. ENGL 6750/7750 Film Studies Movie Archaeology

  8. ENGL 6750/7750 Film Studies Movie Archaeology

  9. ENGL 6750/7750 Film Studies Movie Archaeology

  10. ENGL 6750/7750 Film Studies Movie Archaeology

  11. ENGL 6750/7750 Film Studies Movie Archaeology

  12. ENGL 6750/7750 Film Studies Movie Archaeology

  13. ENGL 6750/7750 Film Studies Movie Archaeology

  14. ENGL 6750/7750 Film Studies The Camera Sequence • Camera Sequence • By "the camera sequence" Owen Barfield means the historically identifiable stages in the metaphoric internalization of the camera which resulted in the advent of “Camera Man.” • Barfield acknowledges that the process is not easy to describe, for it betrays "a certain leapfrogging element" (Rediscovery of Meaning 71). Beginning in the Renaissance, the sequence includes, however, at least the following elements: • the perfection of perspective • the invention of the camera obscura • the invention of photography • projection of photographs (from the magic lantern to the movie projector) • the theories of psychological projection and animism • the appearance of "Camera Man”

  15. ENGL 6750/7750 Film Studies Photography • Camera Sequence • For Barfield, the camera sequence is inextricable from the entire "Copernican Revolution" in thought, from the discoveries of Renaissance astronomy to the philosophy of Kant, that gave rise to the modern world view: • The camera obscura [as developed by Athanasius Kircher] is an emblem of that species of Copernican Revolution in the human psyche which was quite as much the cause as it was the consequence of the Copernican Revolution in science. I mean the revolution, formulated rather than initiated by Immanuel Kant, whereby the human mind more or less reversed its conception of its own relation to its environment. It is more like an emblem, because the camera obscura (considered as the original source of the whole camera sequence) was also instrumental in actually bringing about the change. . . . We may better call it a symbol, since the camera sequence as a whole was part of the change which it betokens or symbolizes. (Rediscovery of Meaning 69)

  16. ENGL 6750/7750 Film Studies Perspective Perspective • The Camera Sequence • the perfection of perspective • the invention of the camera obscura • the invention of photography • projection of photographs (from the magic lantern to the movie projector) • the theories of psychological projection and animism • the appearance of "Camera Man” Durer, Sixteenth Century

  17. ENGL 6750/7750 Film Studies Invention of the Camera Obscura A Camera Obscura • The Camera Sequence • the perfection of perspective • the invention of the camera obscura • the invention of photography • projection of photographs (from the magic lantern to the movie projector) • the theories of psychological projection and animism • the appearance of "Camera Man” Athanasius Kircher (1602-1680)

  18. ENGL 6750/7750 Film Studies Photography Photography • The Camera Sequence • the perfection of perspective • the invention of the camera obscura • the invention of photography • projection of photographs (from the magic lantern to the movie projector) • the theories of psychological projection and animism • the appearance of "Camera Man” National Geographic Society’s History of Photography Web Resource

  19. ENGL 6750/7750 Film Studies Photography “With the daguerreotype everyone will be able to have their portrait taken—formerly it was only the prominent; and at the same time everything is being done to make us all look exactly the same—so that we shall only need one portrait.”—Soren Kierkegaard (1854) Have You Heard This One? A woman forged her face (It was one she found in a magazine.) Using it, she got a job on an airline. One day a passenger said, "Haven't I seen you every place before?" (He had been reading Ring Lardner.) They got married that very night in a motel. This is a true story. It happened in New York and Los Angeles and Chicago and . . . --William Stafford (1985) • The Camera Sequence • the perfection of perspective • the invention of the camera obscura • the invention of photography • projection of photographs (from the magic lantern to the movie projector) • the theories of psychological projection and animism • the appearance of "Camera Man”

  20. ENGL 6750/7750 Film Studies Photography Photography has destroyed the image.—Elias Canetti, The Human Province • The Camera Sequence • the perfection of perspective • the invention of the camera obscura • the invention of photography • projection of photographs (from the magic lantern to the movie projector) • the theories of psychological projection and animism • the appearance of "Camera Man”

  21. ENGL 6750/7750 Film Studies Photography “Small isn’t she, and black and white.”—Pablo Picasso’s supposed response when a man showed him a snapshot and announced “This is my daughter.” • The Camera Sequence • the perfection of perspective • the invention of the camera obscura • the invention of photography • projection of photographs (from the magic lantern to the movie projector) • the theories of psychological projection and animism • the appearance of "Camera Man”

  22. ENGL 6750/7750 Film Studies Photography Painting by René Magritte • The Camera Sequence • the perfection of perspective • the invention of the camera obscura • the invention of photography • projection of photographs (from the magic lantern to the movie projector) • the theories of psychological projection and animism • the appearance of "Camera Man”

  23. ENGL 6750/7750 Film Studies Photography A photograph is a secret about a secret. The more it tells you the less you know.—Diane Arbus I have this funny thing which is that I'm never afraid when I'm looking in the ground glass. This person could be approaching with a gun or something like that and I'd have my eyes glued to the finder and it wasn't like I was really vulnerable. It just seemed terrific what was happening. I mean I'm sure there are limits. God knows, when the troops start advancing on me, you do approach that stricken feeling where you perfectly well can get killed.—Diane Arbus • The Camera Sequence • the perfection of perspective • the invention of the camera obscura • the invention of photography • projection of photographs (from the magic lantern to the movie projector) • the theories of psychological projection and animism • the appearance of "Camera Man”

  24. ENGL 6750/7750 Film Studies Photography We regard the photograph, the picture on our wall, as the object itself (the man, a landscape, and so on) depicted there. This need not have been so. We could easily imagine people who did not have this relation to such pictures. Who, for example, would be repelled by photographs, because a face without cholera and even perhaps a face in reduced proportions struck them as inhuman.—Ludwig Wittgenstein • The Camera Sequence • the perfection of perspective • the invention of the camera obscura • the invention of photography • projection of photographs (from the magic lantern to the movie projector) • the theories of psychological projection and animism • the appearance of "Camera Man”

  25. ENGL 6750/7750 Film Studies Photography Needing to have reality confirmed and experience enhanced by photography is an aesthetic consumerism to which everyone is now addicted. Industrial societies turn their citizens into image-junkies; it is the most irresistible form of mental pollution. Poignant longings for beauty, for an end to probings below the surface, for a redemption and celebration of the body of the world—all these elements of erotic feeling are affirmed in the pleasure we take in photographs. But other, less liberating feelings are expressed as well. It would not be wrong to speak of people having a compulsion to photograph: to turn experience into a way of seeing. Ultimately, having an experience becomes identical with taking a photograph of it, and participating in a public event comes more and more to be equivalent to looking at it in photographed form. That most logical of nineteenth-century aesthetes, Mallarme, said that everything in the world exists in order to end in a book. Today everything exists to end in a photograph.—Susan Sontag, On Photography • The Camera Sequence • the perfection of perspective • the invention of the camera obscura • the invention of photography • projection of photographs (from the magic lantern to the movie projector) • the theories of psychological projection and animism • the appearance of "Camera Man”

  26. ENGL 6750/7750 Film Studies Photography Ettienne Jules Marey

  27. ENGL 6750/7750 Film Studies Photography Marey’s Chronophotographic Gun

  28. ENGL 6750/7750 Film Studies Photography Eadweard Muybridge

  29. ENGL 6750/7750 Film Studies Photography Eadweard Muybridge

  30. ENGL 6750/7750 Film Studies Projection Projection In psychology, projection refers, of course, to the tendency to externalize our individual concerns, leading us to discover without those problems with which we are wrestling within. The idea plays a key role in the archetypal psychology of C. G. Jung, who held that an individual who "will not see his own weaknesses . . . will find causes everywhere else for his inability to accomplish more of what he sets out to do," discovering in others, in a process known as "projecting the shadow," "those despicable qualities which he fails to see in himself, but which dog his every step.” The idea of projection, Barfield hastens to remind us, could not have come into existence without metaphoric internalization, with forgetful figurative borrowing from the contemporary advent of motion picture projection. • The Camera Sequence • the perfection of perspective • the invention of the camera obscura • the invention of photography • projection of photographs (from the magic lantern to the movie projector) • the theories of psychological projection and animism • the appearance of "Camera Man”

  31. ENGL 6750/7750 Film Studies Projection • Projection (continued) • We now believe the world to be, taking it as common sense, "a magic-lantern show, projected by our minds and senses on to a backcloth of whirling particles or some mathematical substitute for them" (Worlds Apart 87). We have largely forgotten that such a world-picture is in fact an historical invention, and it takes an iconoclast like Barfield to remind us of it. • So it is that, in the age of the movie, the student of words who is unfashionable enough to examine their history as well as their current use, is not perhaps so impressed as some others are by the universal practice of projection not only in movie houses and on the television screen, but also as a concealed metaphor, in the ingenious fancies of men. Is projection itself being projected? (Rediscovery of Meaning 74) • June Singer, Boundaries of the Soul: The Practice of Jung's • Psychology (Garden City: Anchor Books, 1972): 224. • The Camera Sequence • the perfection of perspective • the invention of the camera obscura • the invention of photography • projection of photographs (from the magic lantern to the movie projector) • the theories of psychological projection and animism • the appearance of "Camera Man”

  32. ENGL 6750/7750 Film Studies Projection Phenakistoscope • The Camera Sequence • the perfection of perspective • the invention of the camera obscura • the invention of photography • projection of photographs (from the magic lantern to the movie projector) • the theories of psychological projection and animism • the appearance of "Camera Man”

  33. ENGL 6750/7750 Film Studies Projection Zoetrope • The Camera Sequence • the perfection of perspective • the invention of the camera obscura • the invention of photography • projection of photographs (from the magic lantern to the movie projector) • the theories of psychological projection and animism • the appearance of "Camera Man”

  34. ENGL 6750/7750 Film Studies Projection Zogroscope • The Camera Sequence • the perfection of perspective • the invention of the camera obscura • the invention of photography • projection of photographs (from the magic lantern to the movie projector) • the theories of psychological projection and animism • the appearance of "Camera Man”

  35. ENGL 6750/7750 Film Studies Projection Triuniallantern • The Camera Sequence • the perfection of perspective • the invention of the camera obscura • the invention of photography • projection of photographs (from the magic lantern to the movie projector) • the theories of psychological projection and animism • the appearance of "Camera Man”

  36. ENGL 6750/7750 Film Studies Projection? Thomas Edison • The Camera Sequence • the perfection of perspective • the invention of the camera obscura • the invention of photography • projection of photographs (from the magic lantern to the movie projector) • the theories of psychological projection and animism • the appearance of "Camera Man”

  37. ENGL 6750/7750 Film Studies Projection? Kinetoscope Parlor • The Camera Sequence • the perfection of perspective • the invention of the camera obscura • the invention of photography • projection of photographs (from the magic lantern to the movie projector) • the theories of psychological projection and animism • the appearance of "Camera Man”

  38. ENGL 6750/7750 Film Studies Projection? Mechanism of a Kinetoscope • The Camera Sequence • the perfection of perspective • the invention of the camera obscura • the invention of photography • projection of photographs (from the magic lantern to the movie projector) • the theories of psychological projection and animism • the appearance of "Camera Man”

  39. ENGL 6750/7750 Film Studies Projection? Mutoscope • The Camera Sequence • the perfection of perspective • the invention of the camera obscura • the invention of photography • projection of photographs (from the magic lantern to the movie projector) • the theories of psychological projection and animism • the appearance of "Camera Man”

  40. ENGL 6750/7750 Film Studies Projection Magic Lantern • The Camera Sequence • the perfection of perspective • the invention of the camera obscura • the invention of photography • projection of photographs (from the magic lantern to the movie projector) • the theories of psychological projection and animism • the appearance of "Camera Man”

  41. ENGL 6750/7750 Film Studies Projection The Lumiere Brothers • The Camera Sequence • the perfection of perspective • the invention of the camera obscura • the invention of photography • projection of photographs (from the magic lantern to the movie projector) • the theories of psychological projection and animism • the appearance of "Camera Man”

  42. ENGL 6750/7750 Film Studies Projection The Lumiere Brothers’ Cinematographe • The Camera Sequence • the perfection of perspective • the invention of the camera obscura • the invention of photography • projection of photographs (from the magic lantern to the movie projector) • the theories of psychological projection and animism • the appearance of "Camera Man”

  43. ENGL 6750/7750 Film Studies Projection Georges Melies • The Camera Sequence • the perfection of perspective • the invention of the camera obscura • the invention of photography • projection of photographs (from the magic lantern to the movie projector) • the theories of psychological projection and animism • the appearance of "Camera Man”

  44. ENGL 6750/7750 Film Studies Projection The Two Streams: Lumiere Brothes | Melies • The Camera Sequence • the perfection of perspective • the invention of the camera obscura • the invention of photography • projection of photographs (from the magic lantern to the movie projector) • the theories of psychological projection and animism • the appearance of "Camera Man”

  45. ENGL 6750/7750 Film Studies Camera Man Camera Man One of Owen Barfield's designations for contemporary man, who in his present psyche in a "camera civilization" (and as a stage in the evolution of consciousness) looks—as does a camera—"always at and never into what [he] sees" (Rediscovery of Meaning 73). The camera, he contends—though itself a "caricature of imagination"—has, through metaphoric internalization, come to seem a model for our own soul, our own inner world, so that each of us now feels himself to be a kind of camera obscura, a subjective being, inhabiting a room of one's own: a mere recorder of an external world, not a participant in its creative life. For Camera Man, thinking seems only a "kind of searchlight-beam proceeding from a magic-lantern in the human skull . . ." (Romanticism Comes of Age 228). • The Camera Sequence • the perfection of perspective • the invention of the camera obscura • the invention of photography • projection of photographs (from the magic lantern to the movie projector) • the theories of psychological projection and animism • the appearance of "Camera Man”

  46. ENGL 6750/7750 Film Studies Camera Man Camera Man (continued) We live in a camera civilization," Barfield observes in "The Harp and the Camera." "Our entertainment is camera entertainment. Our holidays are camera holidays. We make them so by paying more attention to the camera we brought with us than to the waterfall we are pointing it at. Our science is almost entirely a camera science. . . . and it is already becoming self-evident to camera man that only camera words have any meaning" (Rediscovery of Meaning 76). • The Camera Sequence • the perfection of perspective • the invention of the camera obscura • the invention of photography • projection of photographs (from the magic lantern to the movie projector) • the theories of psychological projection and animism • the appearance of "Camera Man”

  47. ENGL 6750/7750 Film Studies Camera Man • Camera Man (continued) • A representative Camera Man believes "that the mind is something which is shut up in a sort of box called the brain. . . ." He accepts "that the mind of man is a passive onlooker at the processes and phenomena of nature, in the creation of which it neither takes nor has taken any part." He accepts "the fallacy that there are many separate minds but no such thing as Mind" (Romanticism Comes of Age 148). • Understood in light of the evolution of consciousness, Barfield insists, the camera must be seen as • a caricature of imagination, although it is a true emblem of perspective. Imagination is living, perspective only "lifelike." It used to be said that the camera cannot lie. But in fact it always does lie. Just because it looks only in that immediate way, the camera looks always at and never into what it sees. I suspect that Medusa did very much the same. (Rediscovery of Meaning 73) • The Camera Sequence • the perfection of perspective • the invention of the camera obscura • the invention of photography • projection of photographs (from the magic lantern to the movie projector) • the theories of psychological projection and animism • the appearance of "Camera Man”

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