Film, Experience, Modernity
Is it true that film in the twentieth century experimented with vision more than any other art form? And what visions did it privilege? In this brilliant book, acclaimed film scholar Francesco Casetti situates the cinematic experience within discourses of twentieth-century modernity. He suggests that film defined a unique gaze, not only because it recorded many of the century's most important events, but also because it determined the manner in which they were received.
Casetti begins by examining film's nature as a medium in an age obsessed with immediacy, nearness, and accessibility. He considers the myths and rituals cinema constructed on the screen and in the theater and how they provided new images and behaviors that responded to emerging concerns, ideas, and social orders. Film also succeeded in negotiating the different needs of modernity, comparing and uniting conflicting stimuli, providing answers in a world torn apart by conflict, and satisfying a desire for everydayness, as well as lightness, in people's lives. The ability to communicate, the power to inform, and the capacity to negotiate-these are the three factors that defined film's function and outlook and made the medium a relevant and vital art form of its time.
So what kind of gaze did film create? Film cultivated a personal gaze, intimately tied to the emergence of point of view, but also able to restore the immediacy of the real; a complex gaze, in which reality and imagination were combined; a piercing gaze, achieved by machine, and yet deeply anthropomorphic; an excited gaze, rich in perceptive stimuli, but also attentive to the spectator's orientation; and an immersive gaze, which gave the impression of being inside the seen world while also maintaining a sense of distance. Each of these gazes combined two different qualities and balanced them. The result was an ever inventive synthesis that strived to bring about true compromises without ever sacrificing the complexity of contradiction. As Casetti demonstrates, film proposed a vision that, in making opposites permeable, modeled itself on an oxymoronic principle. In this sense, film is the key to reading and understanding the modern experience.
"A lifetime of watching, reading, and teaching in several languages affords Francesco Casetti not just a total, magisterial view of cinema's place and function in modernity, but an enviable precision of description and example. His prose points into cinema's deepest recesses like a detective's sharp beam, yet radiates its majestic accomplishments like the aurora borealis" — Dudley Andrew, Yale University
"Erudite and intellectually fearless, Francesco Casetti moves effortlessly from broad overviews to careful reexaminations of specific texts by everyone from Walter Benjamin and Jean Epstein to Luigi Pirandello and Victor Freeburg. In the process, Eye of the Century is not only theoretically adept, it offers unexpected and compelling insights into some of our most beloved films." — Charles Musser , Yale University
"Redirecting his earlier discussions of the gaze of cinema theory, Francesco Casetti's new work refocuses our attention onto the cinematic eye of history& mdash;not simply taking a view of the century of cinema which has now passed, but profoundly considering how cinema taught us new ways of seeing as it navigated through a modern visual world. Casetti projects for us the pathway cinema cleared (and occasionally obscured) as it moved through the twentieth century, creating a new world as much as revealing one." — Tom Gunning, University of Chicago
A Hundred Years, A Century
1. The Gaze of Its Age
2. Framing The World
3. Double Vision
4. The Glass Eye
5. Strong Sensations
6. Glosses, Exymorons, And Discipline
Remains of the Day
A Hundered Years, A Century
1. The Gaze of its Age
- "De l'art et du traffic"