# Martine Beugnet (2017). *Introduction*. : Edinburgh University Press. > [!INFO] > Type:: [[chapter]] > Title:: Introduction > Author(s): [[Martine Beugnet]] > Year:: 2017 > Tags:: > DOI:: > Citekey:: beugnet_introduction_2017 > ZoteroURI:: [Open in Zotero: Introduction](zotero://select/items/@beugnet_introduction_2017) > ReviewedDate:: [[2023-06-04]] ## Citation ```latex [@beugnet_introduction_2017] ``` ## Related ```dataview TABLE file.aliases AS "Title" FROM [[@beugnet_introduction_2017]] and -"Plans" and -"resources" ``` ## Summary 초기 영화는 시네마의 도움으로 볼 수 없는 것은 아무것도 depicting하지 않았다. > “that is, film’s ability to capture everything in movement, and therefore to bring to our attention the presence of all the detail that we do not normally consciously acknowledge.” (Beugnet, 2017, p. 1) “According to [[202408310959]]’s well-known critique of the Cartesian concept of knowledge” (Beugnet, 2017, p. 2) “, Whether knowledge gained from our senses is obscure (when you can simply not identify that which you are perceiving), or clear and confused, it is valuable nonetheless.” (Beugnet, 2017, p. 2) 프랑스어에서 vague는 모호하다와 물결 wave 이중의미가 있음 > “La vague is, therefore, the favoured stuff of poetic creation.” (Beugnet, 2017, p. 3) 참조 → [[Georges Didi-Huberman]], ‘Aesthetic Immanence’, in B. Huppauf and C. Wulf (eds), Dynamics and Performativity of Imagination: The Image between the Visible and the Invisible (London: Routledge, 2009), pp. 49–50. [[Georges Didi-Huberman|Didi-Huberman]]’s bringing together of poetry, the wave, and the vague echoes the connection between sensory perception and artistic creation observed by Leibniz and his disciple and founder of the study of aesthetics, Alexander Gottlieb Baumgarten: art explores and cultivates the indefinite part of perception or experience, the ‘je ne sais quoi’; it is only in the realm of the clear and confused that it can thrive. > Artistic intuition and vision thus stem from the incompleteness and constant variation of the perceived, the impossibility of a full and perfect knowledge of the world (3) > “But crucially, cinema as a medium also has the means to explore, alter and intensify our experience of the world’s constant transformation, its constitutive indeterminacy.” (Beugnet, 2017, p. 3) Bernd Huppauf: ‘Between Imitation and Simulation: Towards an Aesthetics of Fuzzy Images’, and Gottfried Boehm, ‘Indeterminacy: On the Logic of the Image’, in Huppauf and Wulf (eds), Dynamics and Performativity, pp. 230–54 and 219–30 respectively. (3) “Although experiments with the capture and expression of the ‘clear and confused’ have remained, as method and as object, a key concern of experimental film and art cinema, the advent of sound – or, rather, the advent of synchronised sound and image – has worked to marginalise such practices: (2) > “Born out of a machine, the child of an industrial and technological modernity – the advent of which, for Jean-Louis Comolli, inaugurated an era of the ‘frenzy of the visible’ – cinema’s evolution is aligned, from the beginning, with the logic that today extends to mainstream discourses on and practices of high-definition digital media.” (Beugnet, 2017, p. 5) There is, nowadays, talk of ‘fuzzy logic’ to describe modes of reasoning that develop without strictly established categories of judgement.10 In art and media studies, the corresponding ‘phenomenological turn’, with its emphasis on haptic visuality and synaesthesia, has led to the reappraisal of the indefinite as key to perceptual and artistic experience. 여기서 현상학 Turn의 예시 - See Vivian Sobchack, Carnal Thoughts: Embodiment and Moving Image Culture (Berkeley: University of California Press, 2004); - Laura U. Marks, The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses (Durham, NC: Duke University Press, 2000); - Jennifer Barker, The Tactile Eye: Touch and the Cinematic Experience (Berkeley: University of California Press, 2009); - Martine Beugnet, Cinema and Sensations: French Film and the Art of Transgression (Edinburgh: Edinburgh University Press, 2007). > "디지털 필름이 이론적으로 셀룰로이드 필름의 미세한 요철을 모방할 수 있다면(포스트 프로덕션에서 초기 레코딩에 '노이즈'를 추가하여), 미디어 기술에 대한 일반적인 담론은 더욱 선명하고 일정하다는 주장을 지지하는 방식에서 소매업체의 입장과 일치하며, 영상 이미지의 이상과 미래 목표는 여전히 최고의 선명함과 정밀함, 즉 선명하고 뚜렷한 것으로 남아있습니다."라고 말합니다 > > “If digital film can theoretically emulate the fine unevenness of celluloid film (including in post-production, through the addition of ‘noise’ to the initial recording), common discourses on media technology align with the retailers’ in the way they uphold the argument for an ever greater definition and constancy, the insufficiently questioned ideal and future goal for the moving image remaining one of utmost clarity and precision – clear and distinct.” (Beugnet, 2017, p. 5) (Beugnet, 2017, p. 5) > "하지만 가스통 바슐라르는 이렇게 말합니다: '이미지의 가치는 상상의 아우라의 정도에 따라 측정할 수 있다 [...]. 따라서 안정적이고 완전히 완성된 이미지는 상상의 날개를 효과적으로 잘라낸다'라고 말합니다." > > “And yet, Gaston Bachelard reminds us: ‘The value of an image can be measured by the extent of its imaginary aura [...]. Hence a stable and fully completed image effectively clips imagination’s wings’.” (Beugnet, 2017, p. 6) > “As far as film is concerned, and as the contributions to this volume eloquently testify, the answer is yes: confusion and indefinition, as the stimulants to imagination, are not easily eliminated.” (Beugnet, 2017, p. 6) > "현대 기술과 관행의 발전에 관한 역사학자이자 이론가인 빌렘 플루서는 창의성은 작업자(심지어 기계의 기능을 최대한 활성화하고 적용할 수 있는 뛰어난 작업자)가 작업자 이상이 될 수 있는 능력과 자동주의(카메라에 내장된 기능)의 효과에 대항할 수 있는 능력에 달려 있다고 주장했습니다." 카메라에 내장된 기능에 대항할 수 있는 대안적 표현 방식에 대한 추구는 영화와 오디오-비주얼 표현의 역사로 이루어져 있습니다. 영화와 그에 따른 시청각 표현 형식의 역사는 이러한 대안적 관행으로 구성되어 있습니다. 이미지를 쉽게 읽을 수 있는 표현 체계와 효율적인 커뮤니케이션 매체에 맞추려는 노력은 (플루서가 주장한 것처럼) 의식적이고 지속적인 탐구와 함께 계획되지 않은 등장, 지배적인 관행에 반하거나 그와 함께 실행되는 부정확하고 모호한 시청각 형식의 출현과도 함께 엮여 있습니다." (뷰그넷, 2017, 9쪽) > “A historian and theorist of the development of modern techniques and practices, Vilém Flusser argued that creativity was dependent on the practitioner’s ability to become more than an operator (even an excellent operator, able to activate and apply to the full the machine’s functions) and to seek instead to counter the effect of automatism (the camera’s in-built functions). The history of film, and of ensuing audio-visual forms of expression, is made up of such alternative practices: the drive to align the image with a readily legible regime of representation and efficient medium for communication is woven together with the conscious (as advocated by Flusser) and continuing exploration but also the unplanned appearance, of imprecise, obscure audiovisual forms that run counter to or alongside the dominant practices.” (Beugnet, 2017, p. 9) ## Annotation Version URL: <a href="http://web.archive.org/web/20200811094838/https://www.jstor.org/stable/10.3366/j.ctt1pwt2x9?turn_away=true" data-originalurl="http://www.jstor.org/stable/10.3366/j.ctt1pwt2x9.5" data-versiondate="2020-08-11T09:48:38Z">Robust Link for: http://www.jstor.org/stable/10.3366/j.ctt1pwt2x9.5</a> ### Related ```dataview LIST FROM [[@beugnet_introduction_2017]] and -"Plans" and -"resources" ```