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Les Grands livres du mois. Le Livre de poche; , Le Don des langues. Le don des langues. Novella seconda, La Maison, Nuit de lune. Log In Sign Up. International Film Studies Journal. La rivoluzione del sonoro. The Revolution of Sound Cinema. Extra-European orders add e 5,00 per year Send orders to: Opposite or Complementary Conceptions? Simpson and Michel Chion Have in Common? Cosetta Saba Documenta 11 Platform 5: It is a history in which a narrative cinema — derivative of the novel and French melodrama more than any other communicative, performing, or expressive art forms — has constituted the central and dominant axis.
Along the way, we find numerous different directions, some ambitious and audacious, others simply inven- tive and sensible, which have been thought of as different hypotheses of development, for a radical transformation of the system, or as a corrective to some of its elements. In other cases, they are greater elaborations, by well-known scholars not necessarily working within the field of cinema studies. In still other cases, they are utopic visions, imaginative projections devel- oping in the context of projects and experimentations of the avant-gardes.
By looking knowledgeably at what cinema is not, we can bet- ter evaluate what it is. Exploring the web of possibilities it could have followed, we can see, behind the apparently natural course of events, the singularity, and possibly, the arbi- trariness of the trajectory leading up to the present. The visions of the avant-gardes are probably the most often visited chapter of this his- tory. Consequently, cinema became identified with a device that makes the systems, new exhibition sites.
He screen to the audience as the only axis of communication, which makes the dream-like also gives us the basis for analyzing the concrete results of grafting the principles of pan- state of the spectator the only model of spectatorship, and turns the film into a closed tex- tomime onto the new medium — ranging from the artistic contribution of the tual system.
The institutional- the end of the century. Elena Mosconi reconstructs the theoretical debate that accompa- ization of classical cinema, he tells us, goes hand-in-hand with the constant thematization nies this relationship in the Italian context and suggests, originally, some outcomes of of the hypnotic experience itself, as we can see in a range of genres from horror to film noir. For example, the idea of actors, and the involvement of a critical and theoretical discourse.
After a few tries, this cinema as a portrait, as a system that, parallel to other systems painting, photography , model too ran right into a dead end. And, we know, other systems in cinema ; or as a langue Pasolini. But cinema can we approach them. Contemporary cinema, the spectacular because is capable of accommodating and reproducing its phenomenological data. Or it forms currently employed, the new models of integration between vision and experience, can be seen as an instrument of the most extensive spectacularization of act of viewing, have re-opened paths that seem to belong to the archeology of missed opportunities.
The recurring proposals to re-plan the Pantomime as expressive system for organizing body language has found, in hip-hop new medium in pursuit of the ideal of stereoscopic vision, discussed by Paola Valentini, culture, in music videos, or rather, in the new musical cinema, boundless possibilities of also fit into this picture. Before becoming the basis of a specialized sector of cinema expansion.
It is cinema itself which is implicated. IMAX is closer to the conditions of knows, bring us to the idea of cinema as an apparatus making visible that which escapes stereoscopic vision than to the institutional model of movie theaters. Currently, not only observation, a machine that acts as an extension of sight. This is a familiar situation in early cinema the flexibility of the context and forms of exhibition, its co-existence with other forms of entertainment and accounts for a system continuously facing its own exterior while being contaminated by it.
It was with I would like to thank Francesco Pitassio, Paola Valentini, and Laura Vichi for their contribu- the introduction of sound, with the rigid normativization of classical cinema, that these tions to the planning and realization of this issue. Ben Brewster, University of Wisconsin Although fiction films had long become the major part of the film programme in the variety theatres or specialised film theatres in which films were seen, before few if any commentators thought that the figures they saw on the screen representing a com- posed action were actors or that what they were doing was acting.
Nevertheless, commentators were clear about what this activity was like, and in particular that, insofar as the per- formers had to convey the inner life of the figures they were supposed to represent, they had to do so in a highly mobile and exaggerated way. Cinematographic life, or survival, is nothing but life somewhat extreme in its posthumous movement or fixity.
There is no escaping a certain exaggeration in cinematographic gesture. To express a feeling in the cinematograph, to make it compre- hensible, visible, the physiognomy has to exaggerate it to the point that it becomes a gri- mace. The actor who is too reposeful on the stage, and expresses his meaning and feeling merely by the tone of his voice or in subtle movements, is utterly worthless for the moving pic- ture.
Sometimes the actor who has risen no higher than to scrub parts or the chorus can be made good use of for the moving picture because of his great proneness to gesture and motion. Strange as it may seem, the best moving picture actors or actresses are not found in the ranks of American and English professionals. The best material is found in the Latin races. The French and Italian people are notably successful. Saxon is more phlegmatic. There is a lack of required action. By the time of this last quotation, the Autumn of , trade commentators in France, So is this art, from which speech is subtracted, the same thing as pantomime?
Perhaps as a meaning never varies; one of those signs means greed, another pride, another flirtatiousness, result of this development, as much as the films that eventually appeared in November and so on. The cinema refuses to use this alphabet; its aim is life. To grasp, sift, fix, by styli- of , the superiority of French films over those from other producing countries evi- sation, the forms of life and their fleeting aspects, that is the task it has taken on. Although in England, the term had taken on a dif- As is well known, American commentators rapidly turned away from it, so that the ferent meaning, in France and probably also the U.
In this sense, it was therefore a would be subverted by the pantomimic gesticulation of the acting in French films. In their efforts to integrate the new entertainment medium, most writers rely on external Aubert demands characterise pantomime gestures.
Finally, if gesture is rapid in many features: Hence many conclude that brevity necessitated by the overall length of the short films standard around , but film is a kind of pantomime. That tradition is the discipline of authentic word- after the assassination , and those in the Benson Richard III, as acting in unison in this less pantomime. However, Jelgerhuis and Aubert are talking about such different issues in the respective passages that the contrast is more apparent than real.
For example, to respond to the line So you no longer need films and that of such films as the Cooperative Film Company adaptation of me? Benson and his troupe, can be shown to conform never make gestures at the same time, although but he insists it is not an exception: What Burrows attempts to do is to find prescriptions and proscriptions in manuals for pantomime acting that contradict those found in similar manuals for the It is true that several actors, when addressing a single person, may at the same time gesticu- spoken stage, and then to demonstrate that the films he believes are strictly pantomim- late, implore, insult, threaten; but were they one hundred, were they one thousand, they ic conform to the rulings in the pantomime books and not those for spoken drama.
Given that gestures can be [ One acted by the word rather than by the paragraph or by the whole, insofar as each extra produces a variant of the gesture, coordinating his or her pervading emotion. However, insofar as pantomime involved gestural There is no doubt that the turn taking principle expounded by Aubert for pantomime dialogues and monologues, i. At a broad level, it can be demonstrated in the direc- tomime, the timing of such gesture could approach that of spoken drama.
Moreover, tions given in play texts. But the stasis of the climactic picture is what helped avoid the The references to ballet and to Masaniello show that he is thinking of moments in distraction, since the audience had time to take in its complexity, and the composi- other genres I will discuss ballet-pantomime in more detail later where gestural sub- tional structure even of the picture which was hardly held at all immediately indicat- stitutes for dialogue are used, such as the communications of a character who is dumb ed whose was at that moment the principal part — the succession of pictures is what one can easily imagine other, similar cases, e.
Their gestures — e. In high comedy or tragedy ment in a semi-circle ensures variation in their outlines for the spectator. Moreover, such movements would be out of place. Garcia is distinguishing between types of ges- ence between pantomime and spoken drama in these matters, and hence nothing in the ture appropriate to low and high genres, and assumes forgetting here the example of films of which was incompatible with emulation of either theatrical form.
Masaniello that characters in the low genres are more likely to resort to mime. These quotations from Garcia also illustrate the difficulty of the approach Burrows takes, assuming that the manuals codify a style, and that an examination of what Actors [sc. Garcia does not think of acting as one style, or even a set of styles for dif- is very much in their interest to study and use all the instinctual expressions which so pow- ferent kinds of theatre.
Rather, it erfully enliven speech by giving it more force, clarity, and warmth. He paraphras- some actor raised his arms above his shoulders at some point. The manuals codify the pictorial approach in a neo- pantomimic action. In full, it reads: Indeed, it could be argued that pictorial acting would allow a place for acting which fits no recognizable style, which does not look like acting at all In descriptive ballets the dancers have to express all their sentiments by pantomimic action. This sort of acting listic acting. The first condition for a good pantomimist is to possess a face susceptible of great vari- century, Charles Hawtrey, might be a case in point: The very faults to avoid in tragedy or high comedy row kind of comedy in which what was comic was that he failed to respond to situa- could be turned to good account in low comedy or comic parts.
Symmetric, awkward move- tions in the expected way, i. One of the Thus the difference between the two performances is seen as a stylistic discrepancy, things that has most surprised Lea Jacobs and me in the reception of Theatre to Cinema Lambert being more advanced, Le Bargy regressive. In it, Lavedan abandons the conventions of the well-made play ed that distinction with our one between pictorial and naturalistic acting — supposing which dominated most late nineteenth-century drama and opera, and tries to create maybe that the two oppositions are conceptually different and what we call pictorialist what might be called a pageant play, one in which historical events unfold in the man- performances might be classed as verisimilar by Pearson, and vice versa, but for most pur- ner of a chronicle within a providential horizon in which each character and each deed poses lumping together Pearson and Brewster and Jacobs as slightly different accounts of is reducible to a moral type.
This form had been tried by Romantic writers, and Ludovic how film acting evolved from theatrical beginnings to cinematic realism. I see no reason to abandon the descrip- preoccupation with pageant drama at this time, seen as restoring the sacral dimension tively useful terms Pearson has devised. This evolutionism is already evidenced in the s them- a calm somewhere between heedlessness and an appropriately Iberian sosiego, while selves, and is now well entrenched, so well entrenched that one book is not going to shift Henri III stands for Tyrannical Pusillanimity, barely screwing himself up to destroy his it.
Brisson heavily influenced by post-naturalist theatrical movements such as symbolism as some- captures this contrast in his review: Might not the of the film Le Bargy — playing Henri III — often employs very broad gestures and moves in a same be true of acting in pantomime? One problem here is the small number of detailed noticeably frenzied fashion, particularly in the scene where he gives instructions to the con- accounts available.
The Theory and Practice of kinds of action: Expressive Gesture with a Description of its Historical Development. Mid-nine- Mimic movements can be divided into five kinds, viz.: Kristin Thompson with the early cinema owes much to a revival, appealing to Deburau, centring on the describes another familiar gesture: For example, when char- journalist Raoul de Najac , Paul Hugounet, an early member, stated the principal aim acters place an open hand palm down about three feet from the floor, that indicates of the Cercle des Funambules as follows: One of the blacklegs makes the gesture as an excuse to his fellow workers for his return to work.
This ges- This formulation seems deliberately catholic with respect to the range of mime act- ture — an open hand held low, palm down — is found in Aubert p. This distinction, between an incomprehensible arbitrary mime vocabulary, an haps a few nondescript ones. Once again, this suggests that there was no specific body is too much of a commonplace to be accepted as a real description note how it acting style for pantomime, except where acting was directly related to speech: Not surprisingly, the same mime-artistes and how much I prefer this new art of M. Wague, more true, more accurate, stratum of the acting profession that served the variety theatre also provided the acting more sincere.
An examination of the filmography of a few famous stage mimes as recorded possible to expressive attitudes. Pantomime is a difficult science, and to know it you must have learnt it. But the overall presence , whereas Wague was largely self-taught — he had debuted as a reciter of verse, of pantomime actors, or actors who had established themselves in pantomime, in and had then progressed to full-blown mime plays via the cantomime, a mixed form in French filmmaking, is undeniable.
However, by the same token, these actors fit seam- which the mime illustrated a song performed simultaneously by a singer in the wings. But the mime who sees his work as a craft secret is not going to publish a how-to drawing excessive attention to herself e. After the car leaves the screen with the cou- end of the First World War. Lawson has a gesture for characters, objects, etc. Aubert argues stereotypes, it seems surprisingly infrequently used to convey ethnic information.
It forcefully that pantomimists should not move their lips, indeed, they should make no may be true that, very broadly speaking, the basic ethnic stereotype at work — the reference at all to the notion that people speak e. Even more with the hand palm out, and hence an obvious reference to speech, so once again, strikingly, although it is a central feature of Assunta Spina that it is set in Naples, and Aubert adopts an extreme position on this matter.
It may be that the national and international needed special treatment. The guests, local bourgeois, are sitting outside on the rich flowering in the late silent period, when the talking picture was already on the terrace awaiting the call to dine. In these last instances, filmmakers resort so it brushes the cheek. The meaning of the gesture is not precisely clear to me — I won- to mime partly to evade censorship — mime enables things to be conveyed by characters der if a modern Parisian would recognise it at once? Abel, The Red Rooster Scare: Making Cinema American, Berkeley: Brisson pense with a Parisian than with a provincial.
So, what did happen to pantomime? Insofar as the early cinema University Press, , pp. And the mime that centuries had similar roots in eighteenth-century and earlier illegitimate theatre, which, at least supplied the absence of speech continued to be used in the cinema, and indeed, was officially, had been required to be wordless, and had often featured clowns. As the restrictions on probably more widely used and more elaborated and orchestrated in the late silent peri- the illegitimate theatre were progressively relaxed, French pantomime, claiming descent from od than in the s. Rather than attempting to demarcate the broad trends of a stylis- Gaspard Deburau, took its aesthetic dominant from the mime, whereas English, epitomised by tic history of film acting, we need to study the different ways actors deployed the Joseph Grimaldi, found its in the clown.
The indifference to reference in the trade press is illus- resources of pictorialist theatre in the early cinema. Burch, Life to Those Shadows London: BFI, , pp. A December , pp. History of the Russian and Soviet Film London: Publikationen, , p. Dante, , pp. Kinematograph Weekly, , p. For a detailed account of Brewster, L. Jacobs, Theatre to Cinema: Jelgerhuis, Theoretische Lessen over de gesticulatie en mimiek Amsterdam: Warnars, Cinema, Exeter: University of Exeter Press, to be published.
Hakkert, , p. In later articles, and in those written in collaboration with Frank behind them, so that we are willy-nilly distracted from the important dialogue. Cotta, , p. The Transformation of manifestations of nineteenth-century pictorialism. Performance Style in the Griffith Biographs Berkeley: University of California Press, , esp. This is still evident pp. Of course, 43 Brisson, op. Apart from the pantomime manual which had the good fortune, for into account — Mary Pickford acts differently in comedy than she does in drama.
Dover, , p. The radically different assessments we have seen in contemporary his acting. Story, Style, and Filmmaking, Madison, accounted for if we distinguish what part of mime acting the commentators are discussing. University of Wisconsin Press, , p. Largely but not wholly. Bauer appear is undeniable. Film Style and Mode of Production to London: Routledge, Bosse and Sweet can be seen as having evolved in the same way from the acting of the film , pp.
Perhaps one might generalise that act- 49 M. But the development of 53 See M. There are examples of all these kinds of mime received more literary attention and its history is easier to trace. Fortunately, for films which appeared in tomime Paris: Librairie Fischbacher, , p. Henri Bousquet, Hugounet also edited a special number of the magazine La Plume on pantomime: Henri Bousquet, September Raise both arms through 2nd position. Both hands come to rest with the finger- 66 Op. She suggests, however, that the original meaning of this but the lips are tapped and the hand is held palm in.
Lenk notes the opposi- 69 See Thompson, op. I do not know Girard, , p. If so, Bertini is avoiding them in the film version. Hennuyer, , p. Dorcy, The Mime New York: It may be that French mimes learnt it from Chaplin and Keaton as much as from any native tradition. It should be said that this filmography is not ideal for gener- ating this kind of statistics. No catalogue of early films can claim to be complete, so there may have been films in which mimes appeared which were missed entirely by the compilers. But there may also be over-representation as well as under-representation.
Chirat and Le Roy seem to have decided to assign a catalogue entry to every title they found in an authori- tative source. Quite apart from the quality of the sources they used — an entry in J. The issue of the relationship between cinema and pantomime needs to be located Another preliminary question concerns the definition of pantomime: Often these contributions are solicited from the outside: Drawing on this shared meaning of pantomime it called upon, urged to break a cautious silence and contribute to the controversy around is possible to inquire into its similarities with cinema.
Other times, other people might freely express their opin- ion motivated by the desire to spread a personal point of view on the new expressive medium, its development, and its aesthetic potential: Within the multiplicity of possible directions, I have chosen to privilege theories of References to the analogy between the two expressive forms are widely spread, espe- cinema in relationship to pantomime: Or, alter- analysis of these prophecies, disseminated here and there in various contributions, natively, as in the case reported above, to deny its specificity.
I will try to establish the roots of the famous realistic strand of Italian cinema. He advocates the link between how and why a variety of theories, even those predominantly focused on production,1 pantomime and cinema with the following argument: This is the case in the work of two inter- At this point I would like to examine the main tenets of the theoretical discourse esting authors, Pietro Gariazzo and Anton Giulio Bragaglia.
These Theater of the Independents. Usually, this is a way to address some questions related to film aesthetics, and Nevertheless, the analogy between cinema and pantomime triggers also another identify, in the classical ideal of pantomime, a model for it. In this sense, cinematic pantomime is interpret- and Italian choreographer Angiolini, which Bragaglia presents chauvinistically. After The first modern trait can be found, naturally, in the mechanical and reproductive a detailed presentation of their different positions he concludes: Within the all-encompassing perceptual bal- ing other than as an evident proof of the ignorance of those who cannot see how far the art ance created by modernity, within the intensity of a life ruled — as Benjamin shows — of gestures can reach.
Anytime he sees cinema being plagued by uncertain- There is more to it: With this point of view, the argument put forth by Pietro Gariazzo, the author of The As a result, his reasoning creates a peculiar short circuit whereby the pantomime rep- Mute Theater, appears stronger. Upon drawing a sketch of recent technological resents at the same time the beginning and the end of the artistic accomplishments of progress and the speed that characterizes it, he claims that the arts interpret the needs cinema: In short, cinema and pantomime tend to compro- gesture and overcomes the limitations of the spoken or written word.
The second char- mise their expressive purity and autonomy in order to enrich their communicative acteristic of the cinematic gesture, for Gariazzo, is its immediacy: This statement clearly deforms and alienates from its being the spiritual and delicate art of Terpsichore. Cinema and pantomime are weak arts, corrupted by an original sin, and therefore always All theoreticians, still searching for defining categories and an appropriate lexicon, seeking a surplus of expression and emotion that they borrow from other arts spoken are struck by the unprecedented power of the gesture as revealed by cinema: Canudo word, dance, music, theater….
He nevertheless sees a possibility of amend more faithful to reality than any imitation, because it is not only truthful but truth for cinema, more than for pantomime, in the modern mimic musical drama, where itself. This prompts an example where music has freed itself from the constrains imposed by choreography: It is not by chance both intellectuals: Let us examine the exemplary — under this respect — trajectories of Ricciotto Canudo and Sebastiano Arturo Luciani. In an enthusiastic and programmatic essay, The Destines: The first signs of the Canudo claims — is therefore theater of a new Pantomime.
Marseille: Agone, édition revue et augmentée, p, Anthologie de « Noir et Rouge» .. L'anarchisme français et la révolution espagnole . Syndicalist Legacy: Trade Unions and Politics in Two French Cities in the Era of vénériennes sans réglementation de la prostitution, ni police des mœurs. L'intégrale, tome 22 MARGERIN Frank Chez Lucien POCKET / LI Chocolate .. Amassoér - dictionnaire picard-français français-picard EDITIONS .. De la préhistoire à l'an LEFER Antoine Histoire de la police .. SALVADOR Henri Ma chère et tendre SANTOS Victor Polar.
It is consecrated to painting in technological revolution of cinema precipitate the debate on the use of sound, on the motion, and contains the full manifestation of a most singular creation, realized by men, value of the spoken word, and the related aesthetic transformations of cinema: Two examples of opposed positions foreshadowing tone of the discourse25 attenuate the awareness that is nevertheless sur- can clarify the meaning of this alternative and the use, once again instrumental, of pan- facing: Drawing on self even more from pantomime and all the other mimodramas, considering them a nour- already established arguments, Pagnol talks about early cinema as a mechanically ishment for cinema during its inexperienced youth,26 but from whose constraints it had reproduced pantomime, whose possibilities are limited.
Sound provides cinema with slowly freed itself. The aesthetic ideal that cinema should conform to, this time enunci- new possibilities: Silent film was the art of impressing, fixating, and spreading pantomime. The spoken film is the art of impressing, fixating and spreading theater. The spoken film, which brings new resources to theater, must re-create theater.
Within the group of the cautious defenders of silent cinema, we have already met The analysis of the theoretical debate suggests another possible line of inquiry that I Anton Giulio Bragaglia, who devotes more space to the reflection on the relationship will only mention here. Besides the white pantomime, which culminates with the between pantomime and film in his two volumes written between and The influ- his introductory chapter, Bragaglia claims that sound breaks the link between cinema ences of pantomimic choreography on cinema are not merely limited to the film trans- and pantomime.
Bragaglia then ventures into prophecy and foresees the success of sound film, des- tined to be appreciated for its realistic nature; but he also predicts that alongside it, Choreography is […] the soul of cinema. His spir- verisimilitude, and therefore it is immortal. This is what a patriotic Gariazzo seems to suggest, when he talks expression, or because of the lack of interest towards the pure cinema encouraged by about the historical genre: We have understood how different prophecies about a pantomimic cine- ma have remained — in most cases — mere auspices and unrealized projects.
Costa, Teorie del cinema dalle origini agli anni Trenta: Essays and Reflections New York: Schocken Books, , pp. Il periodo del muto Bologna: CLUEB, , p. Gariazzo, Il teatro muto, cit. In chapter VI of this volume, devoted to mimic gesture, Gariazzo gives a rough classification of types of gestures. He divides them in action movements, character move- 1 I draw the definition of production-oriented theories from F.
Teorie, Strumenti, memorie, vol. Einaudi, , p. Boschi, Teorie del cinema. Carocci, , pp. University, ; R. University of California, ; L. Bragaglia, Il film sonoro, cit. Simmel, Il volto e il ritratto, Bologna: Il Mulino, , p. On this sub- 5 S. Frisby, Fragments of Modernity. Theories of Modernity in the Work of Simmel, 6 A. Vichi Kracauer and Benjamin Cambridge — Oxford: Polity Press — Basil Blackwell, ; F. Il cinema e le altre arti — The Tenth Muse. Cinema and the Other Arts Il cinema, per esempio.
La nascita e lo sviluppo del cinema tra Otto e Novecento Milano: Forum, , p. Bracco, Tra le arti e gli artisti Napoli: Giannini, , pp. University of California, For more information on the 22 A. Bragaglia, Evoluzione del mimo, cit. Clueb, , pp. Gariazzo, Il teatro muto Torino: Lattes, ; A. Bragaglia, Il film sonoro Milano: Corbaccio, and A. Bragaglia, Evoluzione del mimo Milano: Enciclopedia dello spet- the Italian translation in R. Le Maschere, , pp. I am quoting from the Italian 11 A. Camerini the italian translation in R.
Bianco e Nero, , eds. Materiali sul cinema muto italiano Venezia: We would then have a newest form of representation where musical impressionism would be fully integrated with the impressionism of the scene: Il cinematografo come arte Roma: La Voce, , p. CLUEB, , pp. La Nouvelle Edition, Excerpts can be found also in A. The light of hypnosis sonoro in Europa, cit. Here I am rather interested in highlighting the relationship between ger than a man, shines on a monstrous audience, a mesmerized mass glued to the seats by sound cinema and cinematic pantomime.
Lovers sit in a corner, embracing tightly, but what they see 33 A. By the metaphor of hypnosis had already been cast on the viewing of films, 36 C. This was a metaphor that was destined to become clearer and clearer, and more 37 See C. Note di storia del cinema, n. Among the other Italian films inspired by the character made lent hunger for hypnosis than the habit of literature used to produce, because this one immortal by Deburau: Il romanzo di un Pierrot tit. Bacchini, Vesuvio-Film, , Pierrot geloso Cines, — realized in ; I due Here, it is not our purpose to draw an outline of the relationship between cinema and Pierrots A.
Karenne, Karenne Film, VII, seen as a state of hypnosis, even if no hypnotist is actually present in the cinema? On the popularity of pantomimic dance in Italy see also L. Secondly, what are the effects of the overlap between film and hypnosis as far as the Tozzi, C. Storia dello spetta- social perception of the act of seeing a film is concerned? UTET, , pp. The film is composed by a great number of gags in which pub- lic figures from articles about national and international politics, life-style, theater, crime, From the end of the eighteenth century up to about the s, magnetism and hyp- sports, and literature jump from the articles and animate their description.
In the middle of the scene, there is the pair Fono 11 July , quoted in A. Nuova Eri, , pp. This scene is ambiguous. On the other hand, we are dealing with a scene of a particular 42 See J. The magnetic somnambu- 43 P. I hereby sensitive surface. Another reason is that, being a form of optical touch, it can explore report only two quotations. The first one is by a little known philosopher, Paul Souriau. The darkness is in the room and the wait for the mystery, excit- tion towards other worlds and dimensions.
At the end of the eighteenth century this scene loses its definition and internal coher- What is about to be performed? I see a ence: Hypnosis roaring pond in the evening breeze, a deep forest; and all of a sudden a star appears through is no longer practiced on clearly determined subjects and in clearly determined places: And as vague- it is to be found everywhere.
On one hand it spreads in a mutual relationship among the compo- invisible orchestra accompanies these visions. How lulled nents of the society: Sleep, it tells us, dream! After a while we sink more deeply into criminal intentions or in terms of the phenomenon of mental contagion typical of psy- hypnosis. So one can speak of a horizontal dimension of suggestion relationship. These magic lantern images fade away.
I thus find myself in my arm- turns to the audience. Therefore, a vertical dimension of the hypnotic relationship can chair, with a book in my hands, and these little black characters on this white page are the be spoken of. I was reading the Contemplations. The orchestra director who keeps the orchestra players clinging, the famous actor or The second quotation is posed by the better known scholar Gustave Le Bon. A similar image-projection happens when the magnetizer and the audience are not simultaneously present, when the contact is through the Whatever the ideas suggested to the crowds may be, they cannot become dominant unless medium of a text.
This is particularly true in the novel: These idea-images are transmission of images from the page to the brain. The physiological mechanist the- not connected by any logical - analogical or subsequent — link, so that each one can replace ories of the second half of the century, especially those of neurological reflexes, the other, just like the magic lantern plates that the operator takes, one by one, from the box restore, in the new context, the motif — typical of the classical magnetic scene — of the they were laid one upon another.
But note the basic ambiguity that is produced. The images produced in their minds by a char- the aid of a magnetizer. Modern forms of the hypnotic scene match the two kinds of acter, an event or an accident are as vivid as the real thing[ In the relationship with the hypnotist, the members of the crowd choose to offer their gazes Only images, the only element their thought is fed by, can impress, frighten or seduce to the hypnotist so as to get them back serialized all of them see the same things and the crowds, becoming the motive of any of their actions.
In short, the hypnotic metaphor magnetizer not to be present, physically, but rather symbolically, through the text. And this However, one further phenomenon seems to be interesting: No less than other social situations, film viewing is sub- moment of a twofold recomposition: This organ- role-takings, physical states, and emotional reactions. This reconnection is where the new what is not present in the device. This imaginary integration occurs, in particular, modern magnetic scene comes from: We have seen how, since its origins, hypnosis emerges as a relationship and the watching subject himself, do not exist but in connection with the Father and that awakens images from gazes.
Hypnosis is first of all and originally an interpersonal his gaze. The stage model of hypnosis is embedded in the origins of every other scene of relationship, a kind of interaction. It is primarily expressed through the gaze: In other words, every hypnotized subject is part of an audience, even tized, that is to say, it concentrates and re-absorbs the whole world, together with when he is the only member.
An entrapped, isolated, subdued audience.