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    Comolli Machines of The Visible PDF

    Uploaded by

    Randall Hitt

    Copyright:

    © All Rights Reserved
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    — n 20 The Cinematic Apprats NOTES ‘This ale emerged om a cue aught by he auth at she Unive of ‘Wocontn, ume ops Ded Radel ad Jae Sai re conmeae n hr manci {Patni JB Lipps geo s:) 2. EG. Lae, mad Cas (90 War: Chk Serb’ Sots) Th and ce inerton sine ay neon anid fe en Se a ey Ne eso EATERS rae ving isin Sew Yok: Aven 6). ‘Seep Rober yon, be asp al ing (Ps eieJetes Fase rt UPA (Cntcd adhoc Amer gee ‘progr «brakoen govpetnnes fom he Bing Sees Sinauphdw hasncne sedi ntvena i ‘AS a, ra akg rt Ta de DRE md | | j | 4 stand Reabad Corny 1578, 9. 1. Mie Baer hn Tense tah Chek Jona, Famer oo. 9 Sping Bey 4. Altea Daniel} Werrab an Edward. Wale, Pupil frei Fan Gh os. —_ 16. Arotscope ina pojecin device mbich allows the flm-maker to rae, rame ‘yam inescioe holage Enaoat4 Comolli, Jean-Louis, “Machines of the ‘Lauretis and Stephen Heath (St, Martn’s Press, 1980), 10. Machines of the Visible Jean-Louis Comolli INTRODUCTION (One of the hypotheses tried out in some of the fagments here fathered together would be on the one hand that the enema —ihe Secraly combina statements fancon withand Sntheset of apparatuses cf representationat work na society. fre not only the representations produced by the repreensative Spparatuses as such (painting, theatre, cinema, ee) there are ako, participating i the movement ofthe whole the systems of the Aelegation “of power (politcal representation), the ceaseless ‘working-wp of social imaginaries (historical, ideological rep- ‘sentations) and a large part, even, of the modes of relational ‘behaviour (balances of power, confrontations, manoeuvres of seduction, strategies of defense, marking of differences or afil- ations). On the other hand, but at che same time, the hypothess ‘sould be data soet sony suc in that eis diet y repeat. If the social machine manufactures representations, it alo manv- actus ielf fom representations—the latter operative at once 38 means, maiter and condition of socality,/~ ‘Ths the historical variation of cinematic techeiques, their appearance-disapprarance, their phases of convergence, their pends of dominance and decline seem to me fo depend not on ational linear order of technical perfctibility nor an auto- mous instance of scientific ‘progress, but much rather on the ietngs, adjostments, arrangement carried out by a social Configuration in order to represent itl, that i, at once to rasp ‘elf identi tell and iell produce tlt n representation What happened with the invention of cinema? It wat not sif= Scient that it be technically feasible, it was not sufiient that a hed by Pernesfns Jan-Laute Comal, (1588). Machines of he Vise, CigRe ADH, GRLatis Hea wah, 121-12. St rarints Pre sible” The Cinematic Apparatus, eds. Teresa De wee The Cinematic Apperats camera, & projector, a strip of images be technically ready. ‘Moreover sey were slrcady thee, more ores ready, mare or les invented, slong time aca bce the oral inventon of nema, ge year before Enon and the Luni brother Twas necenary that something ei be constitatd hat someting ee be ermed theinena mac, which ot cca the ener ihe the Projector, whch i not mere «combination of inveument Spparatus cehniques. Which na machine: dpe ert ingbetween ore another iftrentsc— technological erainy, bt allo economie and ideological A aia was required which implicate ts motivations, which beth arrangement ef demand ce as scans he to ens of one ard imaginary) an arrangemem which give appurats and te niques a social sana and funeton ere Ser “Thecinema sborn immediately a2 social machine, and ths not fic the sole invention of is equipment but rather from the cxperimental supposiort and verseation, from the anticipation nd confirmation of sal an ‘Symbolic. One could) ‘hat itis thespectators who inverenema: the chain that knot fogeter the wating queued, the cy, Paid and the spectators" looks filled with admiration "Never say Gilles Deleuze and Olaite Parne, san arrangesient> ‘combination technological, indeed iis always the contrary. The took always presuppotea machine, and the machine sala seo aboay prsipes hie isabways or asign the technical elements sed. Aol, an instrument, emains marginal or ite wed for as long asthe socal machine of the collective arrangementcombinaton capable ef taking iin spin dis ens Tbs of ae chin in th Dineteenth century destined fora more oles cluny reproduction étthetmage andthe movement fear picked un he pylon ofthe great representative machine in that aoe of aration, lineage influences thas rene bythe displacement of te sal co-ordinates of analogical representation. ‘The second hal ofthe nineteenth century lives ina sor of reas ofthe visible Iis ofcourse, theeflet ofthe social mltiphcation of Images: ever wider distribution ofillaneated papers wavesel pans, Carieaures, tt. The effet ako, howevel, of something of 2 Bcographica exesion ofthe fel ofthe vileand she represen )) Ey mi ‘colgalinscsloskectn the whe wer technical Theres alvaysasocial machine which selec” Macks ofthe Visible ny vile atthe same time that it becomes appropriatable Seniash eres evesoNiy WT icexpaRN ova a oT transrmations gfe landscape, ofthe produ wretupatage there, again, tne Seveepmen ofthe mecanial Iianulacture of object which determines ya fakes force of Tepettion ter ever denial reproduction, thus standardsng Idea ofthe lavthanal) copy ito that of the (indus) ee ea ee af metal pce, Be “Rovenen often and animal become in sme srt more ile ‘Ran hg hed beens movemen becomes» ule mechanics THE trechaneal opens out and mulips the sable ad between them Bie aman he an el dealegeal Egan sp rr ing gr 33h Sidhe ves ncuime that thus uctated and grate by rmakipicy of opi intrumente which lay + thouand Views Tneihi ore, he human ee fons te memeri pee: the shane oe pougapic maine no a Tie crmin aspects wih mare arenes. Thephoogaph tandses ence the rumph and the grave ofthe je There B's Vole aecemeiga the ple oF HEME WHE ace the Renasance the lo Mad come oso which ve i my opinion the ‘etur,synehroueus with esc af photography of esr hing hat the legolton eth clase cpscthat geomet et whch _ made of the Ge she point of convergence and centring of dhe PunetiveraqsoC ihe abies ad ong reprened and vino FShaned-oifer tian inthe conlled form of anamorphoses: the Iassve return to the font ofthe stage ofthe optical aberrations, Tlusions, disolutions. Light becomer less obvious, st ite as problem and challenge tosight-A whale ost of inventors, lecturers End image shonmen experiment and exploit in every way the ‘ptical phenomena which appear frationa fom the standpoint of the established science (refraction, mirage, spectrum, diffaction, Jnmerferences retinal perestence, ete). Precisely a nev: conception. tl light spot together, in which the notion of wave replaces that of ‘ay and puts an end to the schema of redinear propagation, in ‘hich optics thus overturned fs now coupled with chemisy of Tight *Decene, in panic, hrown nto confison by all this new magic cof the visible, the human eye finds isl aflected with a series of limits and doubis. The mechanical eye, the photographic lens, a 34 The Cinematic Appratis while sin in nats. Snetions alas gant the en ith the aormality- of son. I the photo fraphicilsn, sate the cinematographic usin, lly grabes thetpeigtef dynias earn hi ore at the delusion te conformity with the norm of vial perception. ‘The mechanical magie of the analogical representation 8 the isle is accomplished an articulated fromm a doubt ts tothe fidelity othuman vison and more widely a5 (othe th of enory inpresiors. tiers om inom hick oe led sa coat have come the extemeeagernes of the fit spectators tory in thelimagesof tie ft fis - devoid ofelour mance, Muldy the ‘ental image, th doe of ie ell. IF there yin the very cof representation, a force of ditavowal which gives fee ctonlywealy manented by ‘helene mle eine? ina notes ach ‘hous to reflly deny tie manifest diference eancen the ni Jmage andthe retinal image in order to Be ssuted of sew hold on ete sabe tm the fw af techael repo: 1. THE GAMERA SEEN The came, hen Por ae Ite on ie mney at asco eer, oe et he a cing gy, ewe lume icons fie sktie wef Od Get vars enmant har ial seujanat dachures peso das tari beiee saga Seer ccomenee ee raat Somes perce rf elite ements ok Beene cee pate pre ahead year Lome tmicaindnnyftenaor aoe" cege ese ripe oe pliceeie cen: age aS toudlecifon tivo paneiverctguct Thor oo La gue cco ay cane scone Wonenrnecic ace Saree hE Repu Sheek neater te SRD" ye ek Ths repose cipaceneet a te Machines ofthe Visible 125 examined in the very manner of posing the ascultion ofthe ape Tecnology ea See thc caer an Elgated representative ofthe whole of ieee spent not merely syecdochical (he par forthe Cae eUtbveall an peradon erection othe whol othe rae a he quesiened in tha, eee, reproduces and Pao te Spe whichis cele tated in the halal

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