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

The Scene of the Screen figure Cinematc and Electronic Presence It is obvious that cinematic and electronic technologies of representation see had enormous impact upon our means of signification during the past century. Less obvious, however, is the standardized impact these technologies have had upon the historically peculiar(a) significance or smack impression we have and make of those temporal and spatial coordinates that reportly inform and orientate our social, individual, and bodily existences. At this point in time in the unify States, whether or not we go to the movies, watch television or medicine videos, own a video tape recorder/ flower, allow our children to play video and data processor games, or write our academic papers on personal computers, we are all part of a moving-image culture and we bear cinematic and electronic lives. Indeed, it is not an exaggeration to claim that none of us can escape daily encounters--both direct and indirect--with the objective p henomena of motion picture, televisual, and computer technologies and the networks of communication and texts they produce. Nor is it an extravagance to suggest that, in the most profound, socially pervasive, and and personal way, these objective encounters transform us as subjects. That is, although relatively myth as materialities of human communication, cinematic and electronic media have not notwithstanding historically symbolized but also historically constituted a radical alteration of the forms of our cultures previous temporal and spatial consciousness and of our bodily sense of existential front end to the world, to ourselves, and to others. This various sense of subjective and material presence both signified and supported by cinematic and electronic media emerges at heart 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 electronic technologies are severally quite different from each other in their concrete physicalness and particular existential significance. from each one offers our lived-bodies radically different ways of being-in-the world. Each implicates us in different structures of material enthronisation, and--because each has a particular affinity with different cultural functions, forms, and contents--each stimulates us through differing modes of representation to different aesthetic responses and ethical responsibilities. In sum, just as the photograph did in the last century, so in this one, cinematic and electronic screens differently take on and shape 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.