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Showing 1 to 2 of 2 (0.142 seconds)Spelling suggestions: "subject:"[een] PANOPTICUM"" "subject:"[enn] PANOPTICUM""
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[en] THE PANOPTICISM IN THE MOVIE: THE CONSTRUCTION OF THE SPACE THROUGH THE LOOK / [pt] O PANOPTISMO NO CINEMA: A CONSTRUÇÃO DO ESPAÇO ATRAVÉS DO OLHARMARCELLO RAIMUNDO BARBOSA DE FREITAS 16 October 2008 (has links)
[pt] O panoptismo - um conceito fundamental para a compreensão da
formação e do funcionamento das sociedades disciplinares
ocidentais a partir dos
séculos XVII - XVIII, bem como para a produção e controle
do espaço - apareceu
em meados dos anos 70 nas análises empreendidas pó Michel
Foucault, em
Vigiar e Punir, de um dispositivo carcerário setentista
então pouco estudado - o
panopticum de Jeremy Bentham. Esta dissertação estabelece
uma releitura da
teoria foucaultiana sobre o panoptismo em que a crítica do
dispositivo panóptico é
retomada a partir dos filmes Laranja Mecânica (Stanley
Kubrick), 1984 (Michael
Radford), Inimigo do Estado (Tony Scott) e Minority Report
(Steven Spielberg);
enfatizando metodologicamente a relevância da ficção
científica, como gênero, na
elaboração teórica das passagens e processos de transição
que podemos observar
entre as já conhecidas e estudadas formas de disciplinares
de sociedade e uma
possível, ou suposta, sociedade porvir do controle; assim
como a relação de todo
esse processo com a construção dos espaços real e diegético. / [en] Panopticism is a key concept for a better understanding on
the functioning
and shaping of the western disciplinary societies from the
XVII - XVIII centuries
on, as well as the production and control of the space. It
hás appeared, in the midst
of the seventies, in Michael Foucault´s Surveiller et Punir
analysis about what
was at that time an almost obscure XVIII the century
personal device - Jeremy
Bentham´s panopticum. This dissertation rereads the
foucauldian´s panoptic
theory through a critical perspective provided by the
depiction of the panoptical
device in the films A Clockwork Orange (Stanley Kubrick),
1984 (Michael
Radford), Enemy of the State (Tony Scott) and Minority
Report (Steven
Spielberg); and puts its methodological emphasis in the
relevance of sciencefiction
processes that we can nowadays observe between the well-
know, alreadystudied,
disciplinary forms of society and a possible, or alleged,
controlled society
to-come; as well as the relation of all this process with
the construction of real and
diegetic spaces.
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| 2 |
Taken from lifeKornmeier, Uta 12 October 2006 (has links)
Wachsfigurenkabinette waren nicht immer die billigen Sensationsmaschinen, als die sie heute verstanden werden. Vor der Erfindung und Verbreitung von Photographie und illustrierten Zeitschriften waren sie Bildmedien, die der Vermittlung von visuellen Informationen dienten. Kein anderes Medium konnte die Protagonisten der Weltgeschichte so unmittelbar darstellen wie die Sammlungen lebensgroßer Wachsfiguren. Das Material Wachs trug wesentlich zu ihrem Erfolg bei, denn es ermöglichte die täuschend echten und bis dahin realistischsten Darstellungen von bekannten Persönlichkeiten. Die Operationsweise dieses Mediums wird am Beispiel von Madame Tussauds Wachsfigurenkabinett genauer untersucht. Dazu wurde, soweit möglich, die Reiseroute, der Aufbau und die “Besetzung” der Ausstellung rekonstruiert, sowie die soziale Herkunft der Besucher in der ersten Hälfte des 19. Jh.s ermittelt. Es wird deutlich, daß Marie Tussaud eine talentierte Portraitkünstlerin und ambitionierte Schaustellerin war, deren sorgfältig gestaltete Ausstellung vor allem Besucher der aufstrebenden Mittelschicht mit Interesse an Menschenkenntnis anzog. Das Wachsfigurenkabinett fiel damit in die Kategorie der “nützliche Unterhaltung”, die der Wissens- und Charakterbildung diente. Madame Tussaud ist vielleicht die bekannteste Betreiberin eines Wachsfigurenkabinetts – keinesfalls aber die erste. Die Geschichte der kommerziellen Ausstellung lebensgroßer Wachsfiguren reicht ins beginnende 17. Jh. zurück, wobei sich das Konzept der Kabinette im Laufe der Jahrhunderte stark gewandelt hat. In dieser Arbeit werden drei Ausstellungsformen unterschieden: a) das barocke Figurengruppen-Kabinett, das programmatische oder allegorische Geschichten erzählt, b) die aufklärerische Portraitgalerie (wie z.B. Madame Tussauds), in der Persönlichkeiten als charakteristische Individuen vorgestellt werden, c) das moderne Tableau-Kabinett, wo alltägliche oder außergewöhnliche Ereignisse auf bis dahin unübertroffen realistische Weise wiedergegeben werden. Als Nachrichtenkanal und als Medium für realistische Wirklichkeitswiedergabe sind Wachsfigurenkabinette seit den 1920er Jahren überholt. Als Spiel mit der menschlichen Sinneswahrnehmung bleiben sie jedoch vorerst aktuell. / Waxworks were not always the cheap sensation spinners as which we perceive them today. Before the invention and wide-spread use of photography and illustrated magazines they were an important medium for distributing visual information. No other form of communication could offer such immediate representations the protagonists of world history. Perhaps the greatest part in their success took the material wax which allowed the creation of deceptively lifelike and hitherto most realistic depictions of celebrated individuals. In this thesis, Madame Tussaud’s serves as a prime example for examining the mode of operation of a waxwork exhibition. As far as the sources allow, the itinerary, the ‘cast’ and display of the exhibition is reconstructed, as well as the number and the social background of its visitors during the first half of the 19th century. It emerges that Marie Tussaud was a talented portrait artist and a show woman of ambition whose carefully constructed exhibition attracted mainly middle-class visitors with an interest in human classification. Thus, the waxworks was a ‘rational entertainment’ that was thought to further the development of knowledge and character in its visitors. While Madame Tussaud’s was perhaps the most famous waxworks, it was not the first one. The history of commercial exhibition of life-sized wax figures goes back to the 17th century. Their concept, however, changed significantly over the centuries. Three forms of waxworks are differentiated here: a) the baroque waxworks of groups of figures narrating programmatic and allegorical stories, b) the enlightened portrait gallery – such as Madame Tussaud’s – where celebrities are presented as individual characters, c) the modern tableau waxworks, that represents extraordinary as well as everyday events in a realistic way that was hitherto unprecedented. As a channel for the distribution of news and as a medium for representing reality waxworks have become outdated. As a tickle for the senses, however, they will yet remain effective.
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