## Tom Gunning (2012). *Moving Away from the Index: Cinema and the Impression of Reality*. : Österreichisches Filmmuseum : SYNEMA-Gesellschaft für Film und Medien. > [!INFO] > Type:: [[&]] > Title:: Moving Away from the Index: Cinema and the Impression of Reality > Author(s): [[Authors/Tom Gunning]] > Year:: 2012 > Tags:: > DOI:: > Citekey:: gunning_moving_2012 > ZoteroURI:: [Open in Zotero: Moving Away from the Index: Cinema and the Impression of Reality](zotero://select/items/@gunning_moving_2012) > ReviewedDate:: [[2023-03-23]] ## Citation ```latex [@gunning_moving_2012] ``` ## Related ```dataview TABLE file.aliases AS "Title" FROM [[@gunning_moving_2012]] and -"Plans" and -"resources" ``` ## Summary - ## Annotation The understanding of realism, often "depended on cinema's status as an index, one of the triad of signs in the semiotics of Charles Sanders Price. Film's indexical nature has almost always (and usually exclusively) been derived from its photographic aspects." (42) "For Peirce the index functions as part of a complex system of interlocking concepts that comprise not only a philosophy of signs but a theory of the mind and its relation to the world. (42) However, (with the exception of Gilles Delete, for who Peirce's system, rather than the index, is primary) within theories of cinema, photography, and new media, the index has been largely abstracted from this system, given a rather simple definition as the existential trace or impression left by an object, and used to describe (and solve) a number of problems dealing with the way the light-based image media refer to the world. (42-3) In fact, Peirce's discussion of the index includes a page range of signs and indications, including "anything which focuses attention" (Peirce, Philosophical Writings of Peirce (1955), 106-111) and the general hailing and deictic functions of language and gesture.   거닝이 말하는 것은 리얼리즘에 대한 다른 각도에서의 접근, indexical로만 접근하는 것은 이미 한계점을 드러내고 있고 그 유용성도 이미 사라진 것은 아닌가 하는 의심을 드러내고 있다. 즉 거닝이 말하기로는 "best way" 혹은 "only way"도 아니라고 주장하는 것. 가장 처음 퍼스의 index를 가져온 것은 Peter Wollen, Wollen은 퍼스와 바쟁을 비교함. (Wollen, The Semiolog of the Cinema in Signs and Meaning in the Cinema, 1969, 116-4 [@wollen_signs_2013]) […] at least in the traditional reception of Bazin's theory, cinematic realism depended on the medium's photographic nature. (44) […] referring to the photograph as "a decal or approximate tracing." [@morgan_rethinking_2006, 441-81] "But whereas pierce made his observation in order to found a logic, Bazin wished to found an aesthetic." (Wollen, op. cit. p. 126) Likewise, in a recent Essa Daniel Morgan makes a convincing and full argued case (different from mine) that Bazin's theory of cinematic realism should not be approached through the theory of the index at all. [@morgan_rethinking_2006] Bazin describes the realism of the photograph as an "irrational power to bear away our faith." [@bazin_ontology_1960, 8] Within the academy, the study of film theory has often been bifurcated between "classical film theory" and "contemporary film theory." Insofar as this division refers to omitting more than an arbitrary sense of the past and present, "classical" film theories have been useful defined as theories that seek to isolate and define the "essence" of cinema, while "contemporary" theories rely on discourses of semiotics and psychoanalysis to describe the relation between oil and spectator. [@carroll_philosophical_1988, 10-15] ### Related ```dataview LIST FROM [[@gunning_moving_2012]] and -"Plans" and -"resources" ```