(English) Expanded Screen: The Critical Model of Phantasmagoria

From a media archeology approach to optical devices and immersive imaging environments, stands out the impossibility to circumscribe the analysis of the moving image simply to the cinematographic apparatus and its particular experience. It will be therefore through an archeology of optical devices, that will draw possible new centralities for the diffuse origin of the experience of moving image, breaking with a genealogical approach that historically puts cinema as a pre-destination of the innumerous optical devices that, during the nineteenth century, attempted to express the visual capabilities of the apprehension of movement synthesis. A transformation present, namely, in the scopic devices that being bearers of new visualities, establish a rupture with the exclusivity of the linear model of perspectival representation. The E. G. Robertson’s Phantasmagoria shows, from the end of the eighteenth century, are a clear example of a living manifestation of the numerous imagetic and technical possibilities of the projection of the cinematic image, before its time. The re-emergence of the concept of phantasmagoria, suggested by this paper, induces an unfoldment that expands the initial performative context of this concept, recognizing both its metaphorical power as its transhistorical course. The Phantasmagoria shows are therefore a privileged moment where the screen is announced like the support of the future cinematic image, but where its own limits are faded through special optical projection techniques. In sum, E. G. Robertson’s shows already comprehend a pre-cinematic model, where these performances inaugurate the screen as an expanded surface now provided with movement.

Autor(es)
Ano 2016
Tipo Publicação em Actas
Publicação Post-Screen Cultures/Practices
Local Elephant Studios, London South Bank University
Ed/Org A Journal of Media Practice / MeCCSA Practice Network Symposium
Idioma English
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