## Metadata: Title: Eyal Peretz, The Off-Screen: An Investigation of the Cinematic Frame. Full Reference: Type: Author(s): Julian Hanich, #Author/Julian Hanich Zotero Link: [Eyal Peretz, The Off-Screen: An Investigation of the Cinematic Frame.](zotero://select/items/@hanich_eyal_2018) Index: ## Summary: - 주요 단점. newness를 설명하기 위한 old 에 대한 설명이 부족하다. - close analysis 보다 close reading 을 한다. ## Notes: #LiteratureNotes > Peretz, professor of comparative literature at Indiana University Blooming- ton, considers the cinema as the culminating point of a new logic of framing that preoccupies the work of art since the onset of modernity (which for him coincides with the Renaissance and painters like Peter Bruegel the Elder). [Hanich 2018:137](zotero://open-pdf/library/items/QJB5YZZX?page=2) > upheaval [Hanich 2018:137](zotero://open-pdf/library/items/QJB5YZZX?page=2) > A new indeterminacy, even emptiness is introduced – “a ghostly, invisible outside” (9). [Hanich 2018:137](zotero://open-pdf/library/items/QJB5YZZX?page=2) > Yet he also claims that something new happens with the advent of cinema: Because what’s visible on the screen is simultaneously continuous and discontinuous “with the ac- tual world,” the cinema creates “a more mysterious communication” be- tween on-screen and off-screen (37). [Hanich 2018:138](zotero://open-pdf/library/items/QJB5YZZX?page=3) > In the ensuing chapters Peretz rather mobilizes the off-screen as a tool that enables him close, mostly allegorical, philosophical-political readings of canonical films that support his thesis about the “loss of the center” (149). [Hanich 2018:138](zotero://open-pdf/library/items/QJB5YZZX?page=3) > Surely the cinema knows differing degrees of how centrifugal its images appear, to use a term by Bazin, and thus how strongly off-screen space comes into play. [Hanich 2018:138](zotero://open-pdf/library/items/QJB5YZZX?page=3) > For Peretz, the frame opens up a “fictional realm.” But is this always the case, also for documentary films? [Hanich 2018:139](zotero://open-pdf/library/items/QJB5YZZX?page=4) > For Peretz, the off-screen is predominantly a matter of invisibility. Knowing full well that it’s one of the most hackneyed reprovals in film studies, I still want to know: What’s the role of sound? Even more intriguingly, what about contemporary virtual-reality films: Do they have a frame at all? If so: What kind of frame is it? [Hanich 2018:139](zotero://open-pdf/library/items/QJB5YZZX?page=4) > Already his starting premise leaves some doubts: Working with a wide no- tion of modernity, Peretz’s claim about the newness of the frame in modern painting remains vague, because he hardly ever points out what is old about pre-Renaissance frames. [Hanich 2018:140](zotero://open-pdf/library/items/QJB5YZZX?page=5)