11 Matching Annotations
  1. Jul 2017
  2. doc-0g-38-docs.googleusercontent.com doc-0g-38-docs.googleusercontent.com
    1. but~ ' ilia djfrence betweel!.9,nema and photorrcphy is that the viewpoint Cail be"'mo 1 e, can get awa .f static ocus and share the speed of movmg o Je

      Virilio is speaking about distance, a crucial element. Virilio speaks to this distance both physically and perceptually. While both cinema and photography present a perspective, the targets are now hundreds if not thousands of miles away from where they are spotted on a video screen and button is pressed and perceptually they are equally distant.

    2. Being constantly in the enemy's sights, he came to resemble Piranddlo's cinema actors, in exile both from the stage and from them-selves, .who had to make do with acting in front of a little machine that then acted with their shadows for the audie.nce:

      Virilio draws comparisons between stars and pilots, and between directors and dictators. Comparing the soldier to cinema actors, who can't escape the camera.

    3. Griffith declared that he was 'very disappointed with the reality of the . battlefield'. And everything indicates that modem warfare had become incompatible with the an of cinema as both he and his ·audiences still conceived it.

      No war without representation. Virilio outlines the idea that war is deceptive and an illusion. The war scene was not cut out for its work and Griffith tried to capture war with a very different perception involved and he believed that war and cinema weren't for each other.

    4. To the naked eye, the vast new battlefield seemed to be Composed of nothing -no more trees or vegetation, no more water or even earth; no hand-to. hand encounters, no visible trace of. the unity of homicide and suicide.

      Depicting a very empty place with nothing peaceful or unity involved. This is the epitome of war.

  3. doc-04-38-docs.googleusercontent.com doc-04-38-docs.googleusercontent.com
    1. In west-ern Europe today, the capitalist exploitation of film obstructs the human being's legitimate claim to being reproduced. The claim is also obstructed, incidentally, by unemployment, which excludes large masses from produc-tion-· the process in which their primary entitlement to be reproduced would lie. Under these circumstances, the film industry has an overriding in-terest in stimulating the involvement of the masses through illusionary dis-plays and ambiguous speculations.

      The distinction between author and public is about to lose its basic character- at any moment the reader is ready to turn into a writer. Importantly, he makes a distinction between Russia and Western Europe.

    2. It is inherent in the technology of film, as of sports, that everyone who wit-nesses these performances does so as a quasi-expert.

      He seems to be arguing that the film is more democratic.

    3. The Work of Art in the Age of Its Reproducibility · 103 III In even the mos't perfect reproduction, one thing is lacking: the here and now of the work of art-its unique existence in a particular place. It is this ,unique existenc~~nq -npti:i.l.ng 'else-that~~s--:trh-e _m_a_r,...k-o-:-Jfrt:"t'h:-e,h.,..,.I=st-=-o....,..ry~to:-o which the work~a~ p~en'·~H~ied:.

      Aura- this is a key theme in this passage. The presence of the original is the prerequisite to the concept of authenticity. Manual reproduction usually branded as forgery- the original preserved all of its authority. Technological reproduction is more independent of the original than manual reproduction. Aura seems to depend on authenticity and the authenticity of a thing is the 'essence of all that is transmissible from its beginning to the history which it has experienced.'

    4. But the technological reproduc-tion of artworks is something new. Having appeared intermittently in his-tory, at widely spaced intervals, it is now being adopted with ever-increas-ing intensity.

      Walter attempts to explain how the interrelation of art, society and technology have caused the reproduction of art's evolution and given the most common person a change to have their works published and thus raised the culture of the masses. Fine art such as paintings and sculptures is devalued in lieu of the technological advances.

    5. In principle, the work of art has always been reproducible. Objects made by humans could always be copied by humans.

      Saying that art was already meant to be copied since humans copy by nature.

    6. The scope for exhibiting the work of art has increased so enormously with the various methods of technologically reproducing 'it that, as:hap-pened in prehistoric times, a quantitative shift between the two poles of the

      ( Sentence continues but was cut off) I find this sentence significant as highlights pure art forms that happened in prehistoric times are being exposed and reproduced through film, that it is doing this art justice. Film works as a serviceable vehicle and creates bigger and better understandings for works of hard, even leading to quality transformations and exposing, making it more recognizable.

    7. First, technological reproduction is more independent of the original

      This phrase is saying that the uses of current technology that are developed from the application of scientific knowledge are being used in ways that can bring out the best in works that normally couldn't be noticed without this use of technology. It has become "independent" by being better off on it's own than the original