Avant le cinéma: L'oeil et l'image by Daniel Banda, José Moure

By Daniel Banda, José Moure

Le rêve de transporter, de projeter et d’animer les pictures est peut-être immémorial et l’histoire de ceux qui ont voulu faire vivre ce rêve est déjà longue quand, en 1895, les frères Lumière projettent l. a. vie, prise sur le vif, sur l’écran du cinématographe. Cette anthologie rassemble quelque cent textes qui nous invitent à parcourir une histoire culturelle de los angeles imaginative and prescient, de ses moyens et dispositifs, de l’idée que nous nous faisons du obvious, des attentes, des croyances et de l’imaginaire qui s’y rattachent, afin de mieux comprendre nos propres façons de voir et de vivre avec les images.

De Platon à Jules Verne, avant le cinéma, sans le cinéma, se croisent les préoccupations philosophiques, artistiques et littéraires autant que sociales, scientifiques et concepts. Autour des jeux de l’ombre et de los angeles lumière, de los angeles chambre noire, des lanternes magiques, de los angeles fantasmagorie, des panoramas, de l. a. photographie, des machines optiques et des photos en mouvement, dialoguent, parmi bien d’autres, Vinci, Kepler et Sterne, Kircher, Inés de los angeles Cruz et Leibniz, Robertson, Balzac et Strindberg, et encore Kleist, Wordsworth et Hawthorne, Lichtenberg, Hoffmann, Hugo, Marx et Zola, Arago, Poe, Delacroix et Nadar, Plateau, Baudelaire, Marey et Edison, Villiers de l’Isle-Adam, H. G. Wells et Charles Cros…

Daniel Banda, professeur agrégé, enseigne l. a. philosophie au Lycée Victor Hugo à Paris et l’esthétique à l’université de Paris I Panthéon- Sorbonne. José Moure, ancien élève de l’École normale supérieure, est professeur en études cinématographiques à l’université de Paris I Panthéon- Sorbonne. Ensemble, ils ont publié "Le Cinéma : naissance d’un artwork: 1895-1920" et "Le Cinéma : l’art d’une civilisation: 1920-1960".

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Extra resources for Avant le cinéma: L'oeil et l'image

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The twofold nature of desire creates two kinds of value, which may be termed as true, and artificial value. The true value of something is decided by its ability to meet the desire for well-being, artificial value by its capacity to gratify the desire for pleasure. In any one object, the true value will tend to be outweighed by an artificial value created out of craving and conceit. Desire for the sensually appealing, or for trendy things to serve as status symbols together with popular values and prejudices all crowd into our reckoning of the value of things.

Is it possible that Thais are both content and avid consumers after all? That we have been moving away from a traditional contentment and exchanging it for the values of consumerism? If that is the case then it means that in introducing the Western economic system into our society, we have applied it wrongly, andare now suffering the harmful results. Actually, if we Thais were really content in the correct way defined above, then it would enable us to support a steady and continual growth in production.

When we eat, both kinds of desire are present, although for most people the desire for wellbeing is not usually conscious; we tend only to be aware of the desire for pleasurable experience. Why do human beings eat? Surely it is to nourish the body, to give it strength and good health. But the desire that arises in peoples' minds is for enjoyment, food that is 'good' in terms of taste. This desire may oppose the desire for well-being, and even destroy the quality of life. The desire for the experience of delicious flavours leads us to search for the tastiest food and it may be, for instance, that the most delicious food contains artificial additives which enhance the smell, colour, and taste of the food but are harmful to our body, and thus our well-being.

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