The Gaze: Masochism, Identification and Phantasy in the Spectator

2000 ◽  
pp. 6-23
Author(s):  
Patrick Fuery
Keyword(s):  
The Gaze ◽  
The Spectator

From Retrogradism to Post-Gravitational Art and Back

Maska ◽  
2016 ◽  
Vol 31 (177) ◽  
pp. 51-57
Author(s):  
Bojan Anđelković
Keyword(s):  
The Gaze ◽  
Works Of Art ◽  
The Spectator

Dragan Živadinov creates conceptual total works of art that are procedural and processual in nature. At the centre of interest of his art is the spectator, or the gaze, since the essence of this theatre is produced by a constant turning of the perspective. The project(ile) Noordung 1995-2045 has been conceived as a 50-year project to show the instability of the relation between body and technology. It stages itself and thus repeats the drama of the cosmos. A theatre of repetition that again finds the primary (ritual) sense of theatre.

The Difficulty of Being Dead: Aleksandr Veledinskii’s Alive (2006)

2016 ◽  
Author(s):  
Vlad Strukov
Keyword(s):  
Political Agency ◽  
Life And Death ◽  
The Gaze ◽  
Spectral Effect ◽  
The Status ◽  
The Subject ◽  
The Dead ◽  
The Spectator

The dis/appearances of the characters in Veledinskii’s Alive denotes ruptures in continuity (including the continuity of the gaze). The role of the phantom is to overcome the complete break between the living and the dead as well as to overcome the ruptures in discourse. The persistent revenant is an epitome of the return: they become by coming back and in doing so they create a repetitive experience—teleological aporia, a certain inheritance. The phantom is a trace and also a differance (in Derridean terms) in that their spectral effect is in the ideological tendency and the promise of emancipation. In Alive, the phantom resists the totality of representation and so emerges as a method of paralogy: legitimacy of the subject is determined by a denial of the possibility of legitimation. The spectre as a mediation of discourse which lies in between, and in Alive—not between life and death but between death and death. In Alive political agency is the phantom’s expediency whereby the gaze onto the spectator—the pervasiveness of the ghostly experience problematizes the status of the spectator who—in the presence of the posthumous narrator—emerges as a posthumous spectator.

Frédéric Le Play and 19th-century vision machines

2016 ◽  
Vol 30 (1) ◽  
pp. 66-93 ◽  
Author(s):  
Harry Freemantle
Keyword(s):  
Social Sciences ◽  
19Th Century ◽  
Linear Time ◽  
Western Civilization ◽  
Late 19Th Century ◽  
The Gaze ◽  
The Social ◽  
History Of ◽  
The Spectator ◽  
Historical Moment

An early proponent of the social sciences, Frédéric Le Play, was the occupant of senior positions within the French state in the mid- to late 19th century. He was writing at a time when science was ascending. There was for him no doubt that scientific observation, correctly applied, would allow him unmediated access to the truth. It is significant that Le Play was the organizer of a number of universal expositions because these expositions were used as vehicles to demonstrate the ascendant position of western civilization. The fabrication of linear time is a history of progress requiring a vision of history analogous to the view offered the spectator at a diorama. Le Play employed the design principles and spirit of the diorama in his formulations for the social sciences, and L’Exposition Universelle of 1867 used the technology wherever it could. Both the gaze of the spectators and the objects viewed are part and products of the same particular and unique historical formation. Ideas of perception cannot be separated out from the conditions that make them possible. Vision and its effects are inseparable from the observing subject who is both a product of a particular historical moment and the site of certain practices.

Entrando al cinema. Il ritmo come segreto del mondo

2019 ◽  
Vol 21 ◽  
pp. 239-251
Author(s):  
Gianluca Solla ◽  
Keyword(s):  
Actual Usage ◽  
The Gaze ◽  
Collège De France ◽  
The World ◽  
The Spectator ◽  
Cette Notion

Nella conferenza su Le cinéma et la nouvelle psychologie Merleau-Ponty introduce una singolare, ma decisiva notazione sull’arte filmica, legandola alla nozione di “ritmo”. Tale nozione dà avvio a una riflessione sull’immagine e sul rapporto tra l’immagine e lo sguardo dello spettatore al cinema. Nel presente articolo, l’uso che Merleau-Ponty ne fa e il senso di questa operazione saranno letti in riferimento alla riflessione di Émile Benveniste sul ritmo e ad alcune annotazioni contenute nei corsi di Merleau-Ponty al Collège de France, di qualche anno successivi alla conferenza, su Le monde sensible et le monde de l’expression e quello sulle Recherches sur l’usage littéraire du langage. Dans le texte de sa conférence sur Le cinéma et la nouvelle psychologie, Merleau-Ponty introduit une lecture, singulière mais décisive, de l’art filmique, en la rapprochant de la notion de « rythme ». Cette notion engage une réflexion sur l’image et sur le rapport entre l’image et le regard du spectateur au cinéma. Dans cet article, l’utilisation que Merleau-Ponty en fait et le sens de cette opération seront lus à partir de la réflexion d’Émile Benveniste sur le rythme et à partir de certaines notes présentes dans les cours de Merleau-Ponty au Collège de France sur Le monde sensible et le monde de l’expression et sur les Recherches sur l’usage littéraire du langage, qui suivent de quelques années la conférence.In the text of his lecture on “Film and the new psychology,” Merleau-Ponty introduces a singular and decisive reading of filmic art, approaching the notion of “rhythm.” This notion engages in a reflection on image and on the relation between the image and the gaze of the spectator at the cinema. In this article, Merleau-Ponty’s actual usage of this notion and the meaning of this operation will be read starting from the reflection of Émile Benveniste on rhythm as well as certain notes presented in Merleau-Ponty’s courses at the Collège de France on The sensible world and the world of expression and Research on the literary usages of language, that follow some years after the lecture.

Introduction

2019 ◽  
pp. 1-22
Author(s):  
James Phillips
Keyword(s):  
Ethical Dimension ◽  
Human Face ◽  
Silent Cinema ◽  
Sound Film ◽  
The Gaze ◽  
The Face ◽  
The Spectator ◽  
The Moviegoer ◽  
The Way

Sternberg’s films are famous for their close-ups of the female face. This Introduction discusses the way in which Dietrich’s face functions in his early sound films. Whereas silent cinema charged the human face with carrying the plot or at least with taking up the narrative slack between intertitles, sound film with its additional resources for expounding the narrative opens a space for a face that is inscrutable. Sternberg’s films release the face for spectacle without thereby surrendering it to the gaze of the moviegoer: in its independence of the enclosed world of a narrative, Dietrich’s face is in a position to look out and back at the spectator. Contrasting Morocco with An American Tragedy (in which Dietrich does not appear), the Introduction argues that there is thus an image of autonomy that Sternberg and Dietrich construct and that contributes an (often overlooked) ethical dimension to their cinema of spectacle.

scholarly journals Minor preoccupations, major endeavors: The community of poets and painters

2020 ◽  
Vol 32 (1-2) ◽  
pp. 14-30
Author(s):  
Adelaide M Russo
Keyword(s):  
Ethical Principles ◽  
The Gaze ◽  
Visual Objects ◽  
The Spectator ◽  
Michel Deguy ◽  
Yves Bonnefoy

In Au fond des images (2003), Jean-Luc Nancy introduces concepts about the image, pertinent to understanding the minor genre of poets’ writings on painting. Nancy begins by stating that the image is sacred, clarifying that the sacred should not be confused with the religious, which is based on rituals. The sacred signifies that which is separated, excluded, distanced. The image’s attraction is derived from this, from its untouchable nature. Because of its separation from the viewer, the image inspires a desire for intimacy, and draws the spectator to it. Poets’ texts on painting constitute minor forms: prefaces to catalogs, criticism, or poems that are verbal transpositions of visual objects ( ekphrasis). These minor forms often express major preoccupations. In this essay, we address Mark Strand, Michel Deguy, Nicolas Pesquès, Yves Bonnefoy, and T. Alan Broughton from this perspective of a desire for contact in their efforts to develop their aesthetic and ethical principles through the gaze.

scholarly journals Subjects and Objects of the Embodied Gaze: Abbas Kiarostami and the Real of the Individual Perspective

2016 ◽  
Vol 13 (1) ◽  
pp. 127-141
Author(s):  
Zsolt Gyenge
Keyword(s):  
The Self ◽  
Fully Integrated ◽  
The Real ◽  
The Gaze ◽  
European Cinema ◽  
The Spectator ◽  
The Individual ◽  
Individual Perspective

AbstractIt is widely accepted that Abbas Kiarostami’s cinema revolves around the representation of the gaze. Many critics argue that he should be considered a late modernist who repeats the self-reflexive gestures of modernist European cinema decades after they were first introduced. The present paper will contradict this assertion by investigating the problematic of the Kiarostamian gaze and analyzing the perceptual side of the act of looking. I will argue that instead of focusing on the gaze of the spectator directed towards the filmic image, he exposes a gaze that is fully integrated into the reality to be captured on film. The second part of the paper will explain this by linking the concept of gaze to the Lacanian concept of the order of the Real. Finally, I will contextualize all this by discussing the Iranian director’s position between Eastern and Western traditions of representation.

Eroticism and the Politics of Representing the Abused Body

2021 ◽  
pp. 500-516
Author(s):  
Lisa Fitzpatrick
Keyword(s):  
Sexual Violence ◽  
Judith Butler ◽  
Georges Bataille ◽  
The Body ◽  
Abu Ghraib ◽  
The Gaze ◽  
Susan Sontag ◽  
The Spectator ◽  
The Relationship ◽  
Abu Ghraib Prison

This chapter discusses the photographic and dramatic representation of sexual violence in conflict and the potential for such visual spectacle to be received as erotic or titillating. The chapter begins with a brief consideration of the human fascination with horror, then draws upon the work of Judith Butler on vulnerability, and Susan Sontag and Georges Bataille on suffering to analyze the relationship between pornographic imagery and the images of Abu Ghraib prison. Taking an example of a dramatic representation of wartime rape, Colleen Wagner’s The Monument, the author’s decision not to display the body is explored as one strategy to avoid the exposure of the body to the gaze of the spectator.

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