American Porcelain. 1770-1920 by Alice Cooney Frelinghuysen

By Alice Cooney Frelinghuysen

Коллекция американского фарфора из Метрополитен-музея. Книга содержит 221иллюстрацию, из них 169 в цвете.

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Banks notes how Egoyan’s juxtaposition of two different gestures by Mitchell Stephens (first hiding his face in as an airport shuttle bus driver several years after the accident) gives the ity to perceive himself through the eyes of others. Egoyan calls Banks’s reading “beautiful,” particularly in how it captures that very sense of “drift” possible for the viewer, beyond and between the director’s design of the film. Egoyan reveals that the first in the set of two gestures Banks responds to was not the result of his own planning but of the actor Ian Holm’s suggestion during filming.

In this sense it is also an image that foregrounds Barthes’s claim in “The Third Meaning” that the film still is not a random “sample” from the film but a significant “quotation” of the film (TM 67). For Barthes the quotation represented by the film still is not merely an extract from the original film text; it signals an “other text” called the filmic, located between film and photograph, whose reading requires “a veritable mutation of reading and its object, text or film” (TM 68). ” S/Z, a pioneering investigation into the nature of reading centered on a close analysis of Honoré de Balzac’s short story “Sarrasine” (1830), posits the readerly text as the kind of literary text with which we are most familiar—a text that neatly separates the roles of the author as producer of the text and the reader as consumer of the text.

THROUGH THE LENS OF BARTHES’S CAMERA LUCIDA Roland Barthes’s own sense of experiencing the photographic image depends, like Bazin’s, on a conception of photographic realism finally much closer to surrealism than to the faithful, indexical reproduction of preexisting reality. ”19 Bazin insists that “Buñuel’s 17 most important filmmaker, Luis Buñuel, whom he calls “one of the rare a ‘copy’ of reality, but for an emanation of past reality: a magic, not an art” (CL 88). 25 Barthes’s definition of himself as a realist underlines his commitment to photography as a unique experience for the viewer that distinguishes it from any of the other arts—an experience ultimately linked more intimately to a surrealistic uncovering of reality than to a realistic reproduction of reality.

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