The Scene of the Screen Envisioning Cinematc and Electronic Presence :: Free Essay Writer

The Scene of the Screen Envisioning Cinematc and electronic Presence It is obvious that cinematic and electronic technologies of representation lose had wonderful touch on upon our means of signification during the past century. Less obvious, however, is the similar impact these technologies have had upon the historically particular proposition signifi stinkerce or sense we have and make of those temporal and spatial coordinates that radically inform and orient our social, individual, and material existences. At this point in time in the United States, whether or not we go to the movies, watch television or music photographs, give a video tape recorder/player, allow our children to play video and computer games, or write our academic papers on person-to-person computers, we are all part of a moving-image stopping point and we live cinematic and electronic lives. Indeed, it is not an exaggeration to claim that none of us can escape daily encounters--both direct and indirect--w ith the accusing phenomena of motion picture, televisual, and computer technologies and the networks of parley and texts they produce. Nor is it an extravagance to suggest that, in the most profound, socially pervasive, and yet personalized way, these objective encounters transform us as subjects. That is, although relatively novel as materialities of human communication, cinematic and electronic media have not only historically symbolized but also historically constituted a radical revise of the forms of our cultures previous temporal and spatial consciousness and of our bodily sense of empiric presence to the world, to ourselves, and to others. This different sense of subjective and material presence both signified and supported by cinematic and electronic media emerges within and co-constitutes objective and material practices of representation and social existence. Thus, while cooperative in creating the moving-image culture or life-world we now inhabit, cinematic and elect ronic technologies are each sort of different from each other in their concrete materiality and particular existential significance. Each offers our lived-bodies radically different ways of being-in-the world. Each implicates us in different structures of material investment, and--because each has a particular comparison with different cultural functions, forms, and contents--each stimulates us through differing modes of representation to different artistic responses and ethical responsibilities. In sum, just as the photograph did in the brave out century, so in this one, cinematic and electronic screens differently demand and see our presence to the world and our representation in it. Each differently and objectively alters our subjectivity while each invites our complicity in formulating space, time, and bodily investment as significant personal and social experience.