I thought the article was interesting because it took two seemingly dichotomous positions on the subject of cinema. One focusing on the psychical, the other on the physical. Doane’ perspective was interesting, at least for me, because it delineated the idea of cinematography in a way that was not theoritcally articulated to me before. The notion “resistance” and “storage” are both, in a sense, acurrate, in that the image has the ability both destroy and yet preserve time, and this anxiety is something that contemporary film and media scholars as well as film makers (One Hour Photo w. Robin Williams being a good example) have been investigating. Indeed all the “anxieties” pertainning to the process of the cinema (apparatus, structure, narrative, the image, editing) is not a contemporary phenomenon, but rather a contium of the ever historized fear of “otherness”, “otherness” representing that which is un known, which can attemptively be had and is continuously elusive. Doanne recognizes, at least in this chapter, the inability to conclusively decypher the specificities of the binary. She demonstrates the intersticed network that functions between all the relations, suggesting that what is keen to the cinema is not what it is, and it wi not, but rather the pleasure, and perhaps, displeasure unmediated transferance of subject, image, editing. Angelo
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January 9th, 2008 at 1:15 pm
I liked too the way that the article looks at two areas of great significance in the study of not only cinema but modernity- materialist and psychoanalytical dialectics. The article made me think about the social and cultural reasons behind the advancement of technology and how current phenomenons like ‘facebook’ and ‘2nd life’ become not only a new advent in the “storage of time,” but when compared to Freud’s Mystic Writing Pad analogy are significant in the way that we use them to contribute to the formation of our own ‘individuality or subjectivity- which is arguably a ‘modern’ issue. Like the Writing Pad- facebook and other new media allows us to continually recreate (create and erase, create and erase) who we are. However, unlike the Writing pad, which would leave some sort of trace of what was there before (Freud’s idea of the unconscious), there is no visible trace of what was written before in new media land.
What struck me too about the article too, was the cinema in relation to the slowing down and speeding up of time to try to, in a sense, own it. Modernity is often connected to speed- yet Muybridge needed to slow time down in order to see if the horses hoofs were off the ground. Marey traded photographic qualities for moving graphic qualities. The Lumieire films reviews talked about how death is some how prevented by the lasting cinematic images of loved ones. Ironic then that, with modernity also comes more spare time. Boredom. As Doane says cinema then becomes the perpetrator of anxieties of time and the escape from them. This to me seems like a cyclical situation, which the article illuminated.
January 9th, 2008 at 6:10 pm
What I was most drawn to were the descriptions of Marey’s and Freud’s concepts of ‘time.’ Very different from each other: Marey agonizing over the inability to legibly capture it (I really like the ‘double deception’ sentence on the top of page 62), Freud approaching memory (or, capturing on film) as a mere representation of time –time that, by its nature, otherwise escapes being captured.
Like Angelo, these are new-ish ideas to me. And as Nadia explains in her last line, the problems that arise out of what cinema accomplishes does present a cyclical situation. So generally, (aside from stating that I agree with both Angelo’s and Nadia’s statements) I don’t quite know what to say or question about this chapter. It seems to explain more of what cinematic time is by exploring what it is not (other than confirming that it provides an illusion), and I’m okay with that and accept that.
And I’d like to suggest that the article highlights a possible reason for the change in style that cinema underwent: the heavy dependence on narrative. Despite that some felt that cinema allowed for the evasion of death, one can only (and obviously) conclude that cinema merely provides the illusion of life. Once it was accepted that reality/real-time is not presentable via the cinematic medium (instead of agonizing over the medium’s limitations), using the technology for another purpose seems like a coherent jump in logic with regard to the purpose of the technology of cinema.
I don’t know… I appreciate the article in that it reminded me to really CONSCIOUSLY digest what cinema does and does not do, and to consider these ideas when thinking about early cinema because it was out of such ideas that cinema ended up being invented… so it’s a good introductory article for this class, but it read more like a very involved history/observational reading and thus it didn’t give me questions or suggest any provocative hypothesis to debate over.
January 10th, 2008 at 1:13 am
This article confuses me. I have never heard of cinema as capturing time. It has the ability to capture events which have occurred but not time in and of itself. Perhaps I was looking at time through a different definition? The American Heritage Dictionary defines time (in many ways, but I choose to look at one specifically) as “A nonspatial continuum in which events occur in apparently irreversible succession from the past through the present to the future.” This would mean that time is a medium. I will argue that film (does or attempts to) capture the events that occur in this medium, but it cannot capture the medium it self. If it is argued that film captures time because it captures the events which occur in time, then cannot it not be equally argued that music or paintings, or a book also capture/store time since they record what happened during the events of their creation? A painting for example captures/stores time because it captures/stores what an artist did over the course of time. The point being, I do not see film as more of means to capture time then a diary or a letter, painting, ect.
On page 45 the author writes of time as “antithetical to the notions of storage and retention.” This is the point that I am trying to make. The author goes on to state that this is the point of contact between Freud and Bergson, both of whom condemn the “spatialization” of time. So to reiterate, time cannot be represented or captured, only the events within it can. Time is constantly changing, it can hardly be described; we can only describe what happens within it, not time itself.
January 11th, 2008 at 12:27 am
The beginning of the article discusses Kracauer and Benjamin’s concerns about photography. The issue seems to be that photography is overtaking other forms of art, and indeed, the way people recognize familiar scenes (via representations thereof). My question is: why photography?
We never hear complaints about “too much painting” or even “too much installation art.” Certainly, photography relies on a machine as much as it does the human photographer, but what about the paintings that rely on paint and brushes as much as the human painter who uses them? Technically, photos do not capture reality perfectly. They are two-dimensional and they may distort colour and lighting. Just like any other art form, they have their flaws which keep us from mistaking them for reality.
Therefore, why is there so much unease about art involving machines? Furthermore, how do those anxieties carry over to today when CG art is abundant and ubiquitous?
February 3rd, 2008 at 8:51 pm
“Temporality, Storage, Legibility” by Mary Ann Doane
It’s an interesting bit of academic writing, but it strikes me more as a psychology paper than a film studies one, what with her lengthy exegesis on Freud’s theories of memory, and her failure to mention until the third-to-last page that her entire argument about early cinema is built upon an idealized and/or theoretical conception of early actuality films, rather than the empirical, historical reality of them. Invoking Andy Warhol’s Empire as an example on the film studies side would have helped her point along considerably, but instead she just keeps coming back to Freud’s metaphor of the Mystic Writing-Pad.
It is of course impeccably post-modern and inter-disciplinary to compare Freud to Marey on an equal footing, and the juxtaposition is itself quite illuminating. It’s just that she spends so much time defining her terms and glossing Freud that any real analytical meat regarding temporality and early cinema itself never seems to arrive. The other, more esoteric, concepts that the chapter brings up – which would have allowed real application of the groundwork she’d laid – like the Italian Futurists going on to take up Marey’s work in a very different spirit, or the ultimate rejection of the cinema by both her subjects, remain unexplored.
Like many other things we’ve read, this chapter brought up the concept of the anxiety, overstimulation, and sensory shocks of “modernity.” It always smacks of ahistoricity to me when scholars bring up this vast generalization uncritically, without specifying whether they mean simply the mass urbanization of the late 19th/early 20th centuries, or are reaching for a more general, mythic sense of drift and malaise. Doane also does herself no favours on the charge of reckless ahistoricity when she accepts – seemingly unproblematically – Bergson’s Manichaean dialectic of “the ancients” and “the moderns.”
–Malcolm Morton
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