Stereoscopy: Modernism and the 'haptic'

Critical Quarterly

Volumn 46, Issue 4, 2004, Pages 38-58

  Trotter, David ^a  

^a UNIVERSITY OF CAMBRIDGE   (United Kingdom)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 61249721150     PISSN: 00111562     EISSN: None     Source Type: Journal    
DOI: 10.1111/j.0011-1562.2004.00596.x     Document Type: Review

References (59)

1. James Joyce, Ulysses, ed. Jeri Johnson (Oxford: Oxford University Press, 1993), 48
2. 'The world exists before him (there must be a text to be read),' Johnson explains, 'but comes alive to him in the act of "reading" it' (Ulysses, 784). There has also been a tendency to make out of Stephen Dedalus's ruminations on Sandymount Strand a universally applicable epistemology. 'The modality of the visible', Nicholas Miller concludes, 'is ineluctably textual: to see is to read' (Modernism, Ireland and the Erotics of Memory, Cambridge: Cambridge University Press, 2002, p. 23)
3. The account given by William C. Darrah in The World of Stereographs (Gettysburg, PA: W. C. Darrah, 1977) remains the most comprehensive. According to Darrah, the stereoscope, 'though but one type of photograph, was the first visual mass medium' (p. 2)
4. P. Camecasse and R. Lehman, La Chirurgie enseignée par la stéréoscopie (Paris: J. B. Baillière, 1906)
5. L.-P. Clerc, Applications de la photographie aérienne (Paris: O. Doine et fils, 1920)
6. David Clarke, 'Introduction: Previewing the Cinematic City', in Clarke (ed.), The Cinematic City (London: Routledge, 1997), 1-18 (p. 8)
7. Points of reference for this approach are Gilles Deleuze's two books on cinema, Cinema 1: The Movement-Image, trans. Hugh Tomlinson and Barbara Habberjam (London: Athlone, 1986)
8. and Cinema 2: The Time-Image, trans. Hugh Tomlinson and Robert Galeta (London: Routledge, 1989)
9. and Vivian Sobchak, The Address of the Eye: A Phenomenology of Film Experience (Princeton: Princeton University Press, 1992)
10. Maurice Blanchot, 'The Essential Solitude', in The Gaze of Orpheus, trans. Lydia Davis (New York: Station Hill, 1981), 63-77 (p. 75)
11. Riegl developed his theory of haptic looking in Problems of Style: Foundations for a History of Ornament, first published in 1893, trans. Evelyn Kain (Princeton: Princeton University Press, 1993)
12. and Late Roman Art Industry, first published in 1901, trans. Rolf Winkes (Rome: Giorgio Bretschneider Editore, 1985)
13. The explanation of his choice of terminology occurs in an essay of 1902, 'Late Roman or Oriental?', trans. Peter Wortsman, in Gert Schiff (ed.), German Essays on Art History (New York: Continuum, 1988), 173-90 (p. 190)
14. See Michael Podro, The Critical Art Historians (New Haven: Yale University Press, 1982), ch. 5
15. and Margaret Iversen, Aloïs Riegl: Art History and Theory (Cambridge, MA: MIT Press, 1993)
16. Laura Marks, The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses (Durham: Duke University Press, 2000), ch. 3, esp. pp. 129, 137
17. Juliana Bruno, Atlas of Emotion: Journeys in Art, Architecture, and Film (London: Verso, 2002), 6, 8
18. Marks, Skin of the Film, 170-71
19. Bruno, Atlas of Emotion, 171-2
20. Antonia Lant, 'Haptical Cinema', October, 74 (1995), 45-73
21. See also her 'The Curse of the Pharaoh, or How Cinema Contracted Egyptomania', October, 59 (1992), 87-112
22. The phrase is Peter de Bolla's; see The Education of the Eye: Painting, Landscape, and Architecture in Eighteenth-Century Britain (Stanford: Stanford University Press, 2003)
23. Adolf Hildebrand, The Problem of Form in Painting and Sculpture, trans. Max Meyer and Robert Morris Ogden (New York: G. E. Stechert, 1907), 21-2, 24-6
24. Hugo Münsterberg, The Photoplay: A Psychological Study (New York: Dover, 1970), 20
25. Jonathan Crary, Techniques of the Observer: On Vision and Modernity in the Nineteenth Century (Cambridge, MA: MIT Press, 1990), 116-32, 59, 62, 14
26. Oliver Wendell Holmes, 'The Stereoscope and the Stereograph', in Alan Trachtenberg (ed.), Classic Essays on Photography (New Haven, CT: Leete's Island Books, 1980), 72-82 (p. 75)
27. Blanchot, 'Essential Solitude', 75
28. Walter Benjamin, 'The Work of Art in the Age of Mechanical Reproduction', in Illuminations, ed. Hannah Arendt, trans. Harry Zohn (London: Fontana, 1970), 219-53
29. For the incorporation of Benjamin's hypotheses into haptic theory, see Lant, 'Haptical Cinema', 68-9
30. Bruno, Atlas of Emotion, 247, 250
31. Miriam Hansen's influential argument that Hollywood 'produced and globalized a new sensorium' also draws heavily on Benjamin (and on Siegfried Kracauer); see 'The Mass Production of the Senses: Classical Cinema as Vernacular Modernism', Modernism/Modernity, 6 (1999), 59-77
32. There are intriguing parallels, as well as important differences, between stereoscopic visuality and the 'sentimental look' whose emergence in Britain in the 1760s has been described by de Bolla. 'Neither gaze nor glance,' de Bolla writes, 'the sentimental look operates via a fully somatic insertion into the visual field. It makes the body present to sight, and in so doing it stimulates the cognitive process of affective response.' De Bolla argues that certain paintings by Joseph Wright of Derby educated the eye by captivating it (Education of the Eye, 11, 66)
33. Hanns Zischler, Kafka Goes to the Movies, trans. Susan H. Gillespie (Chicago: University of Chicago Press, 2003), 25
34. Stephen Oettermann, The Panorama: History of a Mass Medium (New York: Zone Books, 1997), 229-33
35. Bernard Comment, The Panorama (London: Reaktion Books, 1999), 70-71
36. Quoted in translation by Zischler in Kafka Goes to the Movies, 25-6
37. John Ruskin, Works, ed. E. T. Cook and Alexander Wedderburn, 39 vols (London: Longmans, Green, 1907), vol. 3, pp. 569-70
38. Holmes, 'The Stereoscope and the Stereograph', 77
39. Crary, Techniques of the Observer, 127
40. Baudelaire, 'The Modern Public and Photography', in Trachtenberg, Classic Essays on Photography, 83-9 (p. 87)
41. The Stereoscopic Nude 1850-1930, ed. Serge Nazarieff (Cologne: Benedikt Taschen, 1993)
42. Linda Williams, 'Corporealized Observers: Visual Pornographies and the "Carnal Density of Vision"', in Patrice Petro (ed.), Fugitive Images: From Photography to Video (Bloomington: Indiana University Press, 1995), 3-41
43. Baudelaire, 'Modern Public and Photography', 87
44. Oettermann, Panorama, 231
45. Comment, Panorama, 70
46. Hansen, 'Mass Production of the Senses: Classical Cinema', 69-70
47. R. M. Hayes, 3-D Movies: A History and Filmography of Stereoscopic Cinema (Jefferson: McFarland, 1989), 3
48. For some extremely suggestive remarks about the influence of stereoscopy on the 'particular way of looking' developed in the early Lumière films, see Thomas Elsaesser, 'Louis Lumière - the Cinema's First Virtualist?', in Elsaesser and Kay Hoffmann (eds), Cinema Futures: Cain, Abel or Cable? (Amsterdam: Amersterdam University Press, 1998), 45-61 (pp. 59-61)
49. Stephen Herbert, Theodore Brown's Magic Pictures: The Art and Inventions of a Multi-Media Pioneer (London: The Projection Box, 1997), ch. 6
50. Interview given in 1949, cited in Noël Burch, Life to Those Shadows, trans. Ben Brewster (London: BFI Publishing, 1990), 181
51. 'What I Demand of Movie Stars', in Harry M. Geduld (ed.), Focus on D. W. Griffith (Englewood Cliffs: Prentice Hall, 1971), 50-54 (p. 52)
52. Siegfried Kracauer, Theory of Film: The Redemption of Physical Reality (Princeton: Princeton University Press, 1997), 47-8
53. Vachel Lindsay, The Art of the Moving Picture (New York: Modern Library, 2000), 68. First published in 1915
54. Burch, Life to Those Shadows, 29
55. Joyce, Ulysses, 340, 342
56. Katherine Mullin, James Joyce, Sexuality and Social Purity (Cambridge: Cambridge University Press, 2003), ch. 5
57. Joyce, Ulysses, 351-2
58. Mullin, James Joyce, 164
59. Marcel Proust, The Way by Swann's, trans. Lydia Davis (Harmondsworth: Penguin Books, 2003), 75