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Arnheim’s Perception One Over On Kracauer’s Reality

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Siegfried Kracauer had a realistic tendency, which defined realism as something that is set in time at the exact moment of capturing the image that does not allow for the “essence” of the subject imaged to shine through. In other words, what is captured is the reality of a moment in time. Comparison to Arnheim. Bibliography lists 2 sources. jvKracau.rtf

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that does not allow for the "essence" of the subject imaged to shine through. In other words, what is captured is the reality of a moment in time. When film captures a scene, it also captures how the actors and stage setting interact at that moment as a movement through that scene and then the scene is done, its subjectivity left to the filmmakers, not the observer. This contrasts with modern film theory, which specifies that through techniques such as camera angle, editing, music, and special effects, the camera can capture an image that will invoke a specific emotion, and that a film is made intentionally to move the observer through a specific set of emotions via contrived images. The purpose: to move the story. Essence, as defined by Kracauer, is subjective and available only through the oral tradition. In Theory of Film: Basic Concepts, Kracauer puts forth the example of Marcel in Proust, who walks into a room where his grandmother is not aware of his presence. In this case, the image of the grandmother within the mind of Proust is reduced to a "photographic" image of his grandmother that he has retained inside himself. This image is subjective to how he sees and thinks of his grandmother and has nothing to do with the present moment until the grandmother speaks (Widoger 22-23). Kracauer saw the image captured by a camera as "subjectless," and therefore, "realistic," and nothing more. All images, therefore, were aesthetic. To Kracauer, the "formative" side of a photographic image was maintained within the mind of the relative, and could not reside in the image itself. When that relative died, the context, or formative, side of the image was lost forever and the image could only be seen ...

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