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• W310943897 abstract "RITES OF REALISM: ESSAYS ON CORPOREAL CINEMA Ivone Margulies, ed. Duke University Press, 2003, 347 pp. This collection of essays on concepts and practices of realist film displays impressive breadth and depth. It opens with Ivone Margulies's Bodies Too Much, an introduction slightly weighted down by theoretical apparatus and burden of summarizing fourteen profound and provocative essays. No wonder, then, that Andre Bazin's lyrical musings on Bullfight (La Course de Taureaux [1949], pictured on book's cover), strikes reader immediately with relative lightness and clarity. One of Bazin's main points is that film's ability to capture shocking and fascinating transition from state of living to condition of death renders it unique and truly timeless, compared to other artistic media. Bazin's consideration of self-contradictory Grecian Urn moment serves as linchpin of collection. Serge Daney explores Bazin's obsession with creating a direct whose ability to present a seamless 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 about animals. This quirky and creative essay brings up some fascinating questions and suggests important dichotomies, but it lapses occasionally into artsy non sequiturs: Then we can orgasm, or After all, if Nazarin seems so overwhelmed at end of film that bears his name it is perhaps because he loves pineapples (39, 40). In sharp contrast, Philip Rosen's more traditional History of Image, Image of History: Subject and Ontology in begins with a flashback clearly tracing influence of Bazin and thinkers who influenced him. Rosen's incisive analysis of mummy elucidates Bazin's obsession with preservation as both contradictory and revelatory. Rosen notes centrality of subjectivity in Bazin's ontology and contradiction in his defense of supposedly modern art forms through an appeal to timeless needs met by fantasy, faith, religion, and myth (55). Rosen questions whether Bazin's obsession with preservation as a constant human tendency is mere essentialism. He also explores opposition between a time-filled view of universe as a series of disjointed particulars, and a time-less vision of eternal truths and patterns. Rosen describes Bazin's theoretical bias toward time-less as one that grows out of a nineteenth-century desire to believe technology can record reality, and he argues that Bazin's complex response directs us toward issues that continue to concern us today. Mary Ann Doane's The Object of Theory considers impending disappearance of of cinema studies. She refers not simply to technology but also to category of cinema, and, in so doing, she highlights necessity for theory to constantly redefine its object and reexamine itself: For just as we seem to be on brink of a postcinematic era, we are also, as David Bordwell and Noell Carroll tell us, already in age of (81). Doane argues for similarities between Post-Theory and its alleged opposite, cultural studies. She explains how cinephiliac description focuses on what is beyond bounds of a highly systematized and commercialized medium. In analyzing Miriam Hansen, she notes that resurgence of cinephilia, with its free-floating attention to detail and (86), is a natural outgrowth of apparent impending death of its object. Doane recounts how a passion for filmic cataloguing of events contributed to idea that film had to be experienced rather than analyzed, that it was the site of newness and difference itself, focal point of modernity (87). She continues: The isolation of contingency as embodying pure form of an aspiration, a Utopian desire, ignores extent to which structure of contingency, as precisely asystematic, became paradoxical basis of social stability in modernity (87). …" @default.
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• W310943897 date "2004-10-01" @default.
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• W310943897 title "Rites of Realism: Essays on Corporeal Cinema" @default.
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