{"title":"Cinema, Phenomenology and Hyperrealism","authors":"Pietro Conte","doi":"10.2307/j.ctv12sdvn4.13","DOIUrl":null,"url":null,"abstract":"Traditionally, hyperrealistic mannequins have embodied the dream\n (or rather the nightmare) of animating the inanimate: by imitating the\n living model to such an extent that any distinction becomes (almost)\n impossible, they blur the threshold between life and inert matter. It thus\n comes as no surprise that wax figures have often been taken as a symbol\n of cinematic creation and its attempt to recreate motion (a quality immediately\n associated with life) by means of a sequence of static frames.\n By focusing on three classic movies—Robert Wiene’s The Cabinet of Dr.\n Caligari (1920), Paul Leni’s Waxworks (1923) and Michael Curtiz’s Mystery\n of the Wax Museum (1933)—the essay explores the tension between reality\n and unreality as the crux of cinema tout court.","PeriodicalId":220682,"journal":{"name":"Bodies of Stone in the Media, Visual Culture and the Arts","volume":"13 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2020-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Bodies of Stone in the Media, Visual Culture and the Arts","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.2307/j.ctv12sdvn4.13","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
Traditionally, hyperrealistic mannequins have embodied the dream
(or rather the nightmare) of animating the inanimate: by imitating the
living model to such an extent that any distinction becomes (almost)
impossible, they blur the threshold between life and inert matter. It thus
comes as no surprise that wax figures have often been taken as a symbol
of cinematic creation and its attempt to recreate motion (a quality immediately
associated with life) by means of a sequence of static frames.
By focusing on three classic movies—Robert Wiene’s The Cabinet of Dr.
Caligari (1920), Paul Leni’s Waxworks (1923) and Michael Curtiz’s Mystery
of the Wax Museum (1933)—the essay explores the tension between reality
and unreality as the crux of cinema tout court.
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