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Cinematic Photogénie, or Walter Benjamin’s “Dialectical Image” - Represented in Jean-Luc Godard’s Histoire(s) du Cinema

Kyoung-Lae kang 1 BOGYEONG KIM 2

1고려대학교
2고려대학교 영상문화협동과정 박사과정

Accredited

ABSTRACT

In the early French film school, photogénie referred to the camera’s capacity for conveying the essence of the (“spirit”) of things — especially through the ontological traces of the referent, which is imprinted on the film negative. This essay traces how the concept of photogénie has influenced film theory by examining a few relevant film theorists, including Jean Epstein, Fernand Léger, Béla Balázs, and Walter Benjamin. In particular, we compare discussions of photogénie with Benjamin’s concepts of the “optical unconscious” and “dialectical image.” In so doing, we showcase that Benjamin’s understandings of media and image take a theoretical homology with photogénie. In addition, we analyze Jean-Luc Godard’s Histoire(s) du Cinema that includes various experimental modes of images in a hope to disclose that the spirit of photogénie is embedded in Godard’s usage of cinematic montage, memory, and history, and in return echoes Benjamin’s understanding of visual media and image.

Citation status

* References for papers published after 2023 are currently being built.