The Cinematic Apparatus pp Cite as. One of the hypotheses tried out in some of the fragments here gathered together would be on the one hand that the cinema—the historically constitutable cinematic statements—functions with and in the set of apparatuses of representation at work in a society. There are not only the representations produced by the representative apparatuses as such painting, theatre, cinema, etc. On the other hand, but at the same time, the hypothesis would be that a society is only such in that it is driven by representation. If the social machine manufactures representations, it also manufactures itself from representations—the latter operative at once as means, matter and condition of sociality. Unable to display preview.
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The advancement of film is pushed primarily by social desires. I hope that my explanation is helpful and that I mostly got it right! So, something else that we could discuss would be if anyone has any further insight into his thesis or finds another aspect of his essay more appealing to focus on. Honestly, I feel that many of the technological advancements in film come directly from one of two sources: greed or insecurity.
Of course, Einstin did do his best work as a political exercise, but I feel that most advancements in technology i. The Jazz Singer represents little more than a justification of show-biz, and Avatar is the King of the World, back for another go. On the whole, people work to save themselves. However, I do agree that film is birthed through, in many cases, a personal process.
Not just a technological one. This essay was quite confusing but I think that he makes a valid point when saying that technology is not the only thing driving film forward. Society effects the evolution of film. Most films have strong societal attachments therefore making it easier to relate to at that specific time and kind of catering to the audience which causes it to change with the times. You must be logged in to post a comment. Leave a Reply Cancel reply You must be logged in to post a comment.
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Machines of the Visible
Limited places. The vast cinematographic work of film director, critic and educator Jean-Louis Comolli focuses strongly on the documentary, and his influential writings span four decades. His impressive body of work places in question the status of the viewer and our relationship with the images and narratives of our world of screens. Comolli sees everything as cinema: making it, producing it, writing it, seeing it; reading, writing and talking about it; thinking about it, investigating it, editing it, disseminating it, scheduling it, presenting it In the living room on the TV, computer, tablet or cell phone.