Field of Vision

Since the Psychopathology of Everyday Life things have changed. This book isolated and made analyzable things which had heretofore floated along unnoticed in the broad stream of perception.

For the entire spectrum of optical, and now also acoustical, perception the film has brought about a similar deepening of apperception.

By close-ups of the things around us, by focusing on hidden details of familiar objects, by exploring common place milieus under the ingenious guidance of the camera, the film, on the one hand, extends our comprehension of the necessities which rule our lives; on the other hand, it manages to assure us of an immense and unexpected field of action.

Our taverns and our metropolitan streets, our offices and furnished rooms, our railroad stations and our factories appeared to have us locked up hopelessly. Then came the film and burst this prison-world asunder by the dynamite of the tenth of a second, so that now, in the midst of its far-flung ruins and debris, we calmly and adventurously go traveling. With the close-up, space expands; with slow motion, movement is extended.

The enlargement of a snapshot does not simply render more precise what in any case was visible, though unclear: it reveals entirely new structural formations of the subject. So, too, slow motion not only presents familiar qualities of movement but reveals in them entirely unknown ones “which, far from looking like retarded rapid movements, give the effect of singularly gliding, floating, supernatural motions.”

Evidently a different nature opens itself to the camera than opens to the naked eye – if only because an unconsciously penetrated space is substituted for a space consciously explored by man [...] The camera introduces us to unconscious optics as does psychoanalysis to unconscious impulses.

[Walter Benjamin]
The Work of Art in the Age of Mechanical Reproduction, section XIII

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