From Movies To Moving
This text was first published in French in La Recherche photographique, no 7, 1989.
This version is translated by Brian Holmes and was published in documentadocuments2, 1996.
That said, what we call the «history of cinema» is the history of the public’s domestication, its «immobilization». Broadly speaking: immobile people who became sensitive to the mobility of the world, to all types of mobility, the mobility of fictions (ahead to happier tomorrows and various other dreams), bodily mobility (dance, action), material and mental mouvements (dialectical and logical games).
My hypothesis (and as I state it, I’m trying to see if it «holds up») is that a reversal has occured. At the risk of reducing things to caricature, I’d tend to say that we’ve become very mobile in relation to images which have become more and more immobile. Here’s where we get back to the question of the relations between cinema and photography. The decline in the number of movie-goers results from the fact that more and more people are refusing «blocked vision» – the seat arrest that sentences them to mutism and immobility, before an image which, in a sense, «moves for two». Audiovisual consumption (television of course, but also video installations and things of the sort) tends to prove that we have learned how to pass by images by the way people must have learned to pass by lighted window displays in the ninetheenth century. window display부분은 Paini하고 연결이 된다.