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  • How To See Photographically Regis Durand

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    Mariana Gama
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    This Book talks about photography and the multiple ways of understandings and readings. Written by regis duran

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    How to See Photographically Regis Durand

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    This Book talks about photography and the multiple ways of understandings and readings. Written by regis duran

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    547 views6 pages

    How To See Photographically Regis Durand

    Uploaded by

    Mariana Gama
    This Book talks about photography and the multiple ways of understandings and readings. Written by regis duran

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 6
    cupie Ty Saou phate fatty ca To Wiles Retete (etre (C080) Seduce YN tone Btgonenjees one searrabioi’) 6 How to See (Photographically) Régis Durand ntl wi pame—sue ee tines hat someon te Cinemania in ara tings oa ‘Sitgme fine bee he Crean te ge wt bd yen ine SA ti ts aa erento dea Louis senses, in LHonome ora da india, speaks of our place in fot oh liege a permanent siting inked asst he “the nota that exits beter urs aed What we see” (20) This apea™ oor saunter. the experene of he ina what Roland Barts all ar ot-sotinioar ere ot ad othe images in move? on hk don tment of ‘Besoen fmt ne ost ey oer opening tem gi would 0: Ger he ame iap' acon oa minus ora ot Of ‘Mr gait et posene (Comer Lae 3). In font of the ncetng mages he “ontinae of images" experince the souey of labng behind the ongoing How and behind the meaning, Hence the teste expres by Barter roa of wht he ells "the saturation of he ie (a (pln cna) ‘tne lo of es and sot low conn comin of nage Te lm our reach mo frp gly ppp «in ‘ly a te paca fate Contes npetion nl few to te clay rb ngns) make cory oe Se ‘Sp (lind Barer) 142 Sl and Moving Images ches has spoken very wel ofthe perf imaginary charge asociated wit he ai ing the emeon-one tht characteris the Hagar rion “fn nage it there n fon of me, oe: eoalesceat (8 sigier and signed ‘nce vgs) analog, lbs prepmat 0 perfec re..." "Lewig the ‘Movie Theater”) However, ti stton wie Barthes eal in rm hypo se derton tno tls ore about x abet own imaginary than (docs about tefl age Hull We recognize ere, for insane, Barthes own ‘bathing fo the viscous he clay, for hat whieh cannot be eu wey. Bt ake ‘mone chou ss Scheer mentioned ete, the cota, wl i it “pune fought slow ication and he emerené fist which is ot yet ge, not yet an ation (218) Howitt question i ot fo naie—i that posible? How can the same mage (oe be sae typeof image cary ver 0 rally oppo Vico ture sbi for the oe; emer, inca tapmentation fo the othe? There fe to bein rot ofthis ag, et flog a of inking wish ae more fpmerfet thar tbe mage island which abmerge complet othe pin that A bsomesreonay “Fhe qua wich then arises what happen azag and thinking when te image iad of tng pes bythe fw ges ona dos phon fap The mi ow turn eet von o thea to memory vn fi the ‘mem of something wich li he mang) Whetes the permanence of {he pototopic image tne int a peseace—but a presence whic ted 12 ‘Ecce and Sbopoin the resity of memory witout mages the memory of ‘Teane which hs len ae lice an pom aes ode presentation, toe oer aces ode to stem the Bow andthe "vist" of he im, Barthes red see thing Ps af all he ted seducing he cinema image othe fame sil (ha [romme)ths tng asymptotically cert the potopraph aii mete poe Sto cae pat fm one ain) regime fo another. And indeed, oe th fin objections hve bnen ontome (rach a" psi, you cannot slide 3 al fom ome to the other a tame lr oad ever wl a photgrih uu ort) we ela hot Barthes ty have flected something which exe {itt the undead of he way photographs ae looked a Ad hate 90 cnet seh ot tke ti frter—eetng. 8 we know to collapse the csljy [Suan photography into that fhe temporality ss he os ofthe Beloved | a the patos of mourn, 2 Fee The operon elected Dre ements Decne takes pace aa dvi st 7 the pot where he pteopion an oven the avention ofthe age te being formed tthe edge tetoen thing and thei repesetaton ad beta 4 semavon aad the materia of presentation, The frame til i (fr Bares) th ‘ea objet in th sense htt at he sae me ref the narrative or seq {it imperatine f n,wile retaining damit posit f cong soto ema) sn ae prt ni” a aries te SOS a Seah ee yigan es tee yn ne pe ‘rcs tance nee NN Gp a nga cee er inh ALN ig eh a ce ‘cic in ts rb po ee satin sae tte tase hig setae Tait yr tee mere nen nies erect tee ett ‘hp la eel at: het reefers me ee anette elena pry eis us tame i etn ln el ims ere Ds rey sonritune tee arta ce gcse Sati cota cytometer ‘Sai tet sete coer neonate tee oe TArStiatnituhen gion eemeratine ‘Chon eet Santee atc SEEN Siemens cones Se ahaa 2S eicepon uo vet it ge pin a Seusiony aarceen oat mies ct 2 Siisteit dot mceyoarte ramones aE “Thus in a me that eens the plenomenologizl approach (hich Bates seminy ety coo} Delere (lllowing Berane) mold ee he mae os ove ‘hen bu a movement that ean aay eer ell For Bergson, thr i 0 ‘ol ntetionseosioumess which rpnize the perceptive es Deleuze apn ‘My tay a ingen ef actos a rents My ee my rain. ae at nl ny Wc ges et ‘Sore movement how cul mgs te nny Somos ce Uo mel {Sten thats met (3) ‘ofcourse, as menting befor ere i the polity ofermporay pas of snc o ceiere These may be called potpaps, bat In Bergon es, they ‘ome prt fs uaeadng molto “Photographer photography bt, 144_Sél and Movog mages lrendy sapped, alredy sho fn the very Interior of things and for al points ot pee” in Dew 6) "Te uiclty hoe sin ying aot oe too edatve—ia ying oto eda, for ctample, the dynamism Sserbing 10 a single opposition between move ‘ment and the absence of movement Fl theory bar Ben prone to doing this no. {Shy in follwing André Bain who, in one of his mos famous esay "Theater Sd Cinema” picks up the distinction between molding (*moulage") and modal on (modalation" “The photographer posed via he nee fhe eg pat where he ‘Mecy te ins tit cathe cso vais te pre dove mouig sto he time the jet and of king the pea ‘frat wal (Qt Deze 3) ‘Yet we kon, rom Camere Lucid, bow desperately Baris ted tose in stowograps s molding of haste athe objec And we come hee to another Point of vide The photograph ke the sl, bears te mri, the acent of Ieoneat ond tine. The difernce tat the photograph is forever depered of the este conblnton and linet which ehracteie the sll Fri spite of ‘ariog temps fo ave hough soqencing or astemblage some kindof cacti quality the potograp i rest suena Yet 0 sop at hiss Bazin ‘pote o es does, would be vord—oquivalen 10 sying thatthe ference be {cen in and photography i tat he one owes while te other doesnt. “The ares tht Tam taking aut i 8 dyeamicfeatare, one that tres the ergy ofthe image ford side the fame, Kind of implosion o conden tion Ad tere penser perhapa to be found there—not napus imag- ‘ary wa objeto te sgh 8 Barthes does but a tbe pbotograie _Sperton tl. the rvabion tat effec Fo does this come about? Fito al by isocinting the gesture and the objec it sme athe energy or the movement aad thelr destination. Speaking of the "photographic lok" ey which he means the lok inthe ees of whoere ‘ring photographed aot the viewer paz), Barta makes a series of ditntions Stich femind us of the one between the ln andthe mo he novelist and ‘Ove mig sy the Fitoerap seperate testo fom perception andi up nyt formes cent oe wot the er this that ert ‘Sing none without nema am acon f hops witht hag ana wit ‘net Andpet ti isscandno movement hie rodacesthe ze hl) ‘tame Camere Laide 1) "This movement ie nore than jut heretic tion the fantasy of pare in ception, of he emergence of thght—of inking. 8 were, phoopaphical. Is Horo See (Photographically)_14s ssn, apna to point to the diving ie. Compare with Jan Louis Sefer | 27% ‘erp oft expevence of thinking in he cinema: "The se of thinking and objet (it isnot proces that can be compared er edoed to gratin that Iblf bene it as ben ooked ain oer words Decne the definition ofthe ‘rr as beta epdoved with movement (217-18). Wath Barthes ca the th nthe personne photograph win lok at use rsh no as en | {to one was) sd its he o abe who sem o withhold iso her pase. Barthes | 75 Showa sigs here in particular of having cwely read Lacan onthe gare: Tis because he ok, eilig he von, seems ol tack by something el, ‘Theor boy os a neborn puppy ait his cheek (Keres, 98 bes moi es ith id nu, ea ee at erties Acar Look (nes La “The lok te, the presse which the Real i id down and incre i poh nd hee ew ig me The en | >) {ply be wot whch Rares aber tote objet fe pogres| C3 ‘deinen i he pstoprapie spare the mpi. the sampling Shea which fects and cmequence of whch the coat ofthe po hon ul te ing of nec of ks te ee ht be | ‘Ss propel spakings faci (iat which oa cl he are of eve | ‘Seo oo ita aca eles). “he gz ths ended (nd the ptosagh it carat) i. cts the Everything collapses io tt ng ak esos nid wich, ‘Bs el the death prasng ae he "Medoaetec") The on posi Seri ft of hated pete of Tie flint and In Doth Sie haves weston something eas ono pie! el Th wr Scheer sae frat om having Beno ay. ged at I only cme ak 0 meta one war wie sethig nlrb nt nh ator this expres cn bo repre. Bat ts essary. thik spend the gesture wb cones ptoatnty ‘wh pe Balloon, noel ned on he oasis Ug ‘erin ncn ten ns and ace ee tl emerging rm the ‘Eine sades eis cena het sit rom the ate awe bve been i ing it what mig be cled greene —the ae tha he eviperttor bing he potogrnt tps which nites te energie hey cot To {st doso wold bet aha (nd Bath et wen then it loin ti penomenoog ofthe bet of he ptoraph ar el he a ‘Satin lth foun cy") ‘But wher is ch wept be fund? In what prion in oat of at prt? Conary tothe experience of vovng ln the wig of ph any i geroh 146 Su ad Moving Images sot ipo defn apart Even meth edi isin pa NESEETAT tonnes one the bo te orang ton ee Peano Of eure tk pes ons ood 8) ine 1 acta mt eto lee he ter se oe eo eae Sek bet sama msrp a anon ree sh ese. Te tography sc crs ay ile as iw Se dr dear hart ns dtm) ora mem he i he sear pit eta fr rsp Ort ari fen ean be pu ponte wal ated ond framed or kept oe ina pottio? TER Storep an ined onthe pon ta mein a ack (oy eth mat mea ee todg)? Poet i ek al ery” oe BETS eine te penonendonal igo proba le a ec magi ona i oy cin ct he _perhernage terre Sn Weta COUN, Wind agen dae roe Siac nete ftom one tow AP ieee emo serene timate pent SCReDRE Seta meteor eerie telco auopee wear Traps ie onset ogame scorn tne ete etn ioe aiineetitetst hte ae Tonics eat es ent eens ca Tae ema mes a a cieanea Manca gac, ea anon ester in mse ao ior enairnicat car rr rae tram opener oe cer naa oe mat Cee on nwt Setareaurseronocpm comm Serr toes aunt ra phepntiom trac Nang aera tar een cr nent eer ‘Shetty Stomancteacpet rny rig caret arbactarcnr make SST sence Hom to See (Photographic) 147 nf do with something in me undovtely The photographs contoat mej Site to abr wth what Tam inte on ot seg ‘The relation between phoiographic images and Menifiable objects cant ‘uo be analyzed With he ep oes ih lero oe inde. tote mages are indeed ofthe err af he ada tno cane fhe pot- | ai roses isl (ts “ology), whichis geared, oe tan anyhig el, || fo the protection of partes Novis beste of ome ale” ner! the sume proces Ii ater bens potogah,within a ration a mt, makes thn objets disappear and elu. Cease reported o hae id tit 9 Painting fo bd to be ee stay not al Bat with ptograph e peed the viewing duplicates more exactly the seed ofthe proceso aking Al the ‘tarding operation (uh a sting wp he sen. taming priming) can ely ‘stemp 0 cases hat everything fac has Ben played uti a instant but ‘tate instant an neve be eaptared or rendered whoa intodun some Kind sari ndeton oda “The only photographs we care abut are he ones which seem to hae know: deo hatot theft tat ome things an only be seen y looking avay of. sing one's Or to put it fee, that a ret encour with he rel ‘utjet of ptogapy i ot pone, and that we Bret tke te inde path of the symbole Those who ryt shrtcireai t—

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