Sorry for mispelling, it was not anit-theatrical cinema but
anti-theatrical cinema.
Herbert Schwaab schrieb:
> Michael Fried's essay that introduced the concept of theatricality is
> "Art and Objecthood" (first published in Arforum, 1967), in the same
> titled edition /Art and and Objecthood. Essays and Reviews /The
> University of Chicago Press 1998, 148-172. The reference to film is on
> page 164.
>
> The concept of absorption was introduced in Michael Fried's
> /Absorption and Theatricality. Painting and Beholder in the Age of
> Diderot /The University of Chicago Press, 1980
>
> The concept of absorption is much more ambivalent and ambiguous as it
> seems to be at first sight. The book is about the beginnings of art
> criticisms in France. The way I understood it, it's more about the
> wish to create works that enable absorption, which becomes apparent in
> the art work and in the criticism. The works created in opposition to
> rococo and baroque art try to make sure that they don't address the
> beholder as obstrusively as the rococo art did. So the paintings often
> have sujets of people who are totally immersed in what they are doing.
> Fried seems to be interested in the emergence of a discourse on
> absorption, but in this book he doesn't suggest that some works are
> better suited to create absorption than others.
>
> But still, it is a very interesting concept. There is an interesting
> essay by Richard Rushton who used the concept of absorption for film
> and for early cinema (theatrical cinema), classical cinema
> (non-theatrical cinema) and art cinema (anit-theatrical cinema) though
> I don't agree with him on this distinction, because it does not take
> into account that modern cinema has some problematic aspects of
> theartricality.
> (Rushton's essay "Early, classical, and modern cinema: absorption and
> theatricality" appeared in Screen 45 (2004) No. 3.)
>
> Herbert
>
>
>
>
>
>
> Frank, Michael schrieb:
>>
>> *can anyone cite a reference for this work by fried??*
>>
>>
>>
>> -----Original Message-----
>> From: Film-Philosophy Salon [mailto:[log in to unmask]]
>> On Behalf Of Herbert Schwaab
>> Sent: Thursday, August 28, 2008 4:39 AM
>> To: [log in to unmask]
>> Subject: Re: new semester, new question, new thread
>>
>>
>>
>> Sure, the distinction between active/passive is misleading. But there
>>
>> are different forms of passiveness.
>>
>>
>>
>> In his writings on modern art Michael Fried invents the concept of
>>
>> theatricality and absorption. He claims that good art leaves the
>>
>> impression of not needing to be behold, whereas minimal art and
>>
>> conceptual art make explicit that they need the beholder, that the
>>
>> reception is staged in a space and situation. He sketches a positive,
>>
>> non-theatrical form of reception - it is also a form of passiveness -
>>
>> which offers closure and presentness of the artwork (I think there are
>>
>> some crossing points with Gestalttheorie or with classicist aesthetics
>>
>> such as Lessings Laookoon). Later he introduces the concept of
>>
>> absorption for non-theatrical art forms.
>>
>>
>>
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